Showing all records | The Scheding Index of Australian Art and Artists

Baldwinson Arthur printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Crane Olive printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Darbyshire Beatrice printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Young Blamire printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Lind Ruby printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Keane Jas printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Gill S T printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Grist Harry printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Troedel Charles printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Fischer A J printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Wilmot Frank printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Buring Adolph printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Betts W printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Smedley William Thomas printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Patterson Ambrose printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Teague Violet printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Rede Geraldine printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Spowers Ethel printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Webb A B printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Lungley Dorothy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Nimmo Lorna printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Palmer Ethleen printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Haefliger Paul printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Northfield James printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Trompf Percy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Sellheim Gert printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Annand Douglas printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Davies L Roy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

McGrath Raymond printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Perrottet G D printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Jordan Allan printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Ogilvie Helen printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Rees Ann Gillmore printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Threthowan Edith printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Perry Adelaide printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Thake Eric printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Gibbons Gladys printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Kingston Amie printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Ainsworth Ruth printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Allan Ailsa printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Beatty Margaret printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Blackburn Vera printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Cornish Muriel printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Weitzel Frank printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Younghusband Adele printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Waller Christian printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Griffin Murray printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Crombie Peggy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Grant Nancy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Pye Mabel printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Hawthorne Dore printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Birmingham Karna printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Irvine Ysobel printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Montgomery Robert printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Black Dorrit printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Fabian Erwin printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Dyson Will printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Mack Ludwig Hirschfeld printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Freedman Harold printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Simon Bruno printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Lymburner Francis printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Dargie William printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Dyson Ambrose printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

McCulloch Alan printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Richmond Oliffe printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Hick Jacqueline printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Aldor Christine nee Miller printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Miller Christine later Aldor printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Roberts Douglas printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Perceval C H printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Maughan Jack printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Leon Dominic printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

McClintock Herbert printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Dalgarno Roy printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Counihan Noel printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Buzacott Nutter printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Mahood Marguerite printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Bainbridge John printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Menkhorst printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Harris Eve printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Bucklow J E printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Lindesay Vane printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Rehfisch Alison printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Hall Oswald printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Travers Hilda printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

O’Connor Vic printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Carter Maurie printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Lincoln Kevin printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Millward Clem printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Amor Rick printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Walker Murray printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Coventry Frederick printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Graham Geoffrey printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Wienholt Anne printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Cilento Margaret printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Glass Raymond printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Annois Len printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

McClintock Rem printerview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Crooke Ray printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Boyd Arthur printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Whisson Ken printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

French Leonard printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Rosengrave Harry printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Blackman Charles printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Salkauskas Henry printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Kahan Louis printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Stein Guenter printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Zikaras Teisutis printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Strachan David printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Halpern Stacha printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

Prints in Australiaview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

posters (p 248-279)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Aboriginal artists prints before 2000 (p 280-323)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Torres Strait Islanders prints (p 324-335)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sumner Alan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Murray Lesley printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Thake Eric printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Richmond Oliffe printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

King Graham printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Griffin Murray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ratas Vaclovas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kubbos Eva printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Salkauskas Henry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Miksevicius Jurgis printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Saline Gunars printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sellbach Udo printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Groblicka Lidia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Marek Voitre printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Marek Dusan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Shearer Mitzi printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Duldig Karl printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Keky Eva printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Friedeberger Klaus printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mayo Eileen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Beck Richard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bainbridge John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sellheim Gert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Annand Douglas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Grieve Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Armstrong Ian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Courier Jack printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Brown Geoffrey printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Walker Murray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Williams Fred printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Maddock Bea printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Boyd Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Olsen John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Miller Max printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lanceley Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kelpra Studio print workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Whiteley Brett printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hanrahan Barbara printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wicks Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Backen Earle printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Haxton Elaine printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nolan Sidney printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Atelier 17 print workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Plate Carl printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Preston Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Haselden Hubert photographerview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Chevalier Nicholasview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Grosse Frederick engraverview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Slater George publisherview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Kerry Charles (1857-1928)view full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: An exceptional group of views of the Snowy Mountains taken between 1891 and 1900 by renowned Sydney photographer Charles Kerry, who is sometimes referred to as the “father of Australian skiing” because of his own enthusiasm for and promotion of this form of winter recreation in the late nineteenth century. The photographs include not only some of the most spectacular landscapes of the region but also scenes of skiing, mountain climbing and alluvial gold mining, the establishment of the meteorological observatory on Mount Kosciuszko (December, 1897), and the delivery of the Kiandra mail by a postman on skis and buildings in Kiandra half-buried under snow (August, 1900). The earliest image is probably the last in the album, a view of Yarrangobilly Caves, which Kerry was commissioned to photograph in 1891.
The album was originally owned by Rosalie Harnett, a member of a prominent pioneer grazier family in the Monaro district; indeed, one of the photographs in this album is a view of Harnett’s Lake. (Rosalie herself has a permanent memorial in Cooma: the stained glass east window of St. Paul’s, its subject “The Easter Tomb”, was given to the church by her “for mercies received”). It is not known, of course, whether Rosalie purchased the photographs directly from Kerry’s studio in George Street or from a local agent – perhaps a Cooma merchant, who is likely to have found selling Kerry prints to tourists as souvenirs a lucrative business. Rosalie cherished these views as an impressive visual record of the rugged mountain country of her beloved Monaro, and had them bound in handsome black morocco.
Original prints of Kerry’s Snowy Mountains images are highly sought after and scarce, even as individual examples; but to come across an entire album containing such a substantial group of them – and with a significant local association! – is a rare occurrence.
The caption titles of the photographs in the album are as follows (Kerry’s serial numbers, where legible, have been included):
2515. Snow Bridge, Main Dividing Range; 2518. A Steep Climb, Kosciuszko; 2488. Drifts, Snowy Mountains; 2517. Cootapatamba Lake, Summer; 2493. A Summer Drift, Snowy Mountains; 2473. Cavern in a Snow Drift; [Kerry’s party on horseback]; 2138. Lake, Kosciuszko; 2049. Harnett’s Lake, Snowy Mountains; 2503. The Blue Lake; 2496. Rising Mists, Snowy Mountains; 2510. Establishing the Observatory, Kosciuszko; 2490. Morning Fog, Thredbo Gorge; 2499. Sunset on Kosciuszko; 2359. Her Majesty’s Mail arriving at Kiandra; 2378. The Hotel Kiandra; 2155. A House, Kiandra, August 1900; 2356. View in Kiandra; 2389. Sluicing with the Giant Nozzle, New Chum Mine, Kiandra; 2363. A Wholesale Spill; [Three men on a sled]; 2382. Come to Grief, on Steep Incline; 2387. Icicles 15 ft. long on New Chum Tail Race; 2394. The End, New Chum Tail Race; 2362. Ice, Pheasant Creek, Snowy Mountains; 2375. Icicles in a Snow Cave; 2353. Icicles, Boogong Ranges, Snowy Mountains; 2372. Ti Tree Bushes, Frozen; 2367. Ti Tree Bushes, Frozen; 2391. Frost on an Ice Pool, 2 1/2 Inches High, Temperature 14° below zero; 903. The Rocks, Soda Water Springs, Cooma; 970. Snowy River at Jimenbenan Falls; 928. Fern Gully, Brown Mountain; Snowy River; 914. The Snowy Range from Paurong; [????] Yarrangobilly Cave.

Publishing details: Oblong quarto album (250 x 300 mm), original gilt-ruled black crushed morocco over boards (expertly rebacked to style), all edges gilt; pastedowns and endpapers replaced, with the ownership inscription of the album’s first owner, Rosalie G. Harnett, dated 1908, preserved on a section of the original front endpaper which has been mounted on the new rear pastedown; containing [36] albumen print photographs in uniform format 150 x 205 mm, mounted recto and verso of [18] leaves of thick card, all except two with handwritten caption, serial number and imprint of ‘Kerry Photo. Sydney’ in the negative;

Reilly Virgil Gavan (1892 - 1975)view full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lady Backer (at coursing). Pen and ink on card, 360 x 260 mm (image), captioned lower centre ‘Lady Backer (at coursing) – “If you please I would like to have a shilling on the tin hare’, signed lower left. Framed.
A fine pen and ink by the talented Virgil Reilly, almost certainly drawn for publication in the Sydney magazine Smith’s Weekly where he was employed as staff artist from 1920 – 1950. Virgil’s drawings often featured attractive young women navigating their way through the underworld of Sydney, many of which were compiled in the standalone publication Darlinghurst Nights in 1932.
The sport of coursing in Australia involved greyhounds racing each other with a live rabbit as their prey, the conclusion of the race involving the unfortunate demise of the bunny. In 1927 the ‘tin hare’ mechanism was introduced from the United States, which allowed the hounds to compete without the loss of life. This innovation popularised the sport, resulting on a backlash from conservatives who railed against the proliferation of gambling in working-class Depression-era communities. In Virgil’s wry illustration, the young woman is on to a winner with her wager, as reflected in the expression of the bookmakers – the tin hare always survives to race another day.
Provenance:
Theodore Bruce Auctions, The Etchings of John B Godson & Other Multiples, Sydney, 25/10/2021, Lot No. 6831
Lawsons, Australian and European Paintings, Sydney, 27/07/1999, Lot No. 396

Mutuaga view full entry

Reference: Mutuaga : a nineteenth-century New Guinea master carver. [’An important in-depth study of Mutuaga (c. 1860-1920s), an artist of the Suau district in the Massim cultural area, Milne Bay Province, Papua New Guinea, by the legendary authority on Massim art and culture, Australian philosopher and collector Harry Beran (1935-2021).
Beran identifies Mutuaga as the author of over 80 carvings, some of which have long been regarded as masterpieces of so-called tribal art. The text covers the Massim people, Massim carving styles, problems of stylistic attribution, Mutuaga and his works and the works of his contemporaries.
A rare and highly sought-after publication.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.’]

Publishing details: Wollongong, NSW : University of Wollongong Press, 1996. Quarto (280 x 205 mm), pictorial stiff wrappers, pp xv, 251, with 153 b/w illustrations, map;
Ref: 1000

Davies Wynne W illustratorview full entry

Reference: The man Hamilton, Free Supplement to the Australian Women’s Weekly. Complete book-length novel by Vance Palmer, one of the two novelists who won First Prize in the Centenary Novel Competition. cover illustration by Wynne W. Davies.
Publishing details: NSW : Sydney Newspapers Ltd., [1935]. Folio newspaper (320 x 220 mm), pp 32, text printed in three columns
Ref: 1000

Gilfillan John Gordon (1839-1875), attributedview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

Gilfillan J Aview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

Kerry Charles attributedview full entry

Reference: Optical lantern readings. Sydney, New South Wales. By a Colonist.
[’A very scarce example of a booklet containing notes to aid in the presentation of a magic lantern slide lecture, or ‘optical lantern reading’.
In this case, a set of fifty glass slides with views of Sydney and environs is described in detail, the text acting as the script for a lecture which could be delivered with the aid of slide projection. The slide subjects include not only well-known Sydney landmarks such as public buildings, scenes around the Harbour, the Botanic Gardens etc., but also less common images such as Anti-Chinese Demonstration, and others from farther afield including Tweed River Warrior; Sandilands Tribe, Clarence River; A Cedar Team, Richmond River; Black, Climbing with Vine Twig; and A Morning’s Bag, River Darling.
The publication can be approximately dated because of an internal reference to the Conference on Federation held in Melbourne in early 1890. (Note that the set also includes a portrait of Sir Henry Parkes, placing “A Colonist” firmly in the pro-Federation camp).
A quick cross-check of a number of the slide titles leads us to believe that Charles Kerry (1857-1928) is likely to have been the photographer of the entire set of fifty images.
This booklet is unrecorded in Australian collections.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.]
Publishing details: London : Alabaster, Passmore & Sons, [probably 1890-92]. Octavo (215 x 140 mm), original printed green wrappers (detached), lower wrapper with advertisement for 200+ ‘Lantern Readings’ titles, inside front and rear wrappers with advertisements for the Orient Line’s Royal Mail Service between England and Australia and the merchant shipping company Neale & Wilkinson, 28 pp;
Ref: 1000

Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901.view full entry

Reference: Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,
Ref: 1000

Lindsay Norman view full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Longstaff John view full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Austin G B H designerview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Ashton Julian and Howard designersview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Ashton Howard and Julian designersview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne.
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Massim Artview full entry

Reference: Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,
Ref: 1000

New Guinea artview full entry

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

Joura Radomir photographsview full entry

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

Taim Bipoview full entry

Reference: Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists
Ref: 1000

Sogeri artistsview full entry

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

New Guinea child artistsview full entry

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

Sakema - Gogodala wood carvers

view full entry

Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map
Ref: 1000

New Guinea artview full entry

Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

Gogodala wood carvers
view full entry

Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

Clifford Samuelview full entry

Reference: Hobart Town, the capital of Tasmania. [Title from printed caption below image]. Wood-engraved panorama, 195 x 550 mm (sheet); no engraver’s details; central vertical fold with light foxing, else very good.
This engraved view was removed (by a previous owner) from a copy of the April 4 1868 edition of the Illustrated London News, in which the panorama was one of the illustrations that accompanied a report on the Duke of Edinburgh’s Tasmanian visit. The same original double-page contained another engraving (of identical dimensions), Regatta at Hobart Town, Tasmania, in honour of the visit of H.R.H. the Duke of Edinburgh. Both prints, on the same sheet, are held in the National Library of Australia (Rex Nan Kivell Collection, NK11760/55 and NK11760/56).
Hobart Town, the capital of Tasmania appears to be after a two-part panorama of Hobart from Lime Kiln Hill taken by photographer Samuel Clifford, titled Hobart Town from the North West (National Archives, UK).
see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:

Sydney (photographs c1920)view full entry

Reference: Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;
Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,
Ref: 1000

Wood Samuel (publisher)view full entry

Reference: see Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;
Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,

Simbai Kua (illustrator)view full entry

Reference: Mother and son, colour illustrated throughout (including inside wrappers)

Publishing details: Western Province / Legends of Papua New Guinea Series / retold by Dianne McInnes / illustrations Kua Simbai. Cover: Long taim Bipo Stori. Coorparoo, Qld. : Robert Brown & Associates, [1995]. Octavo (210 x 145 mm), pictorial stiff wrappers, 16 pp,
Ref: 1000

Bardas Sandra and David collectionview full entry

Reference: see The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]
Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm

Hurley Frank and othersview full entry

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist
Publishing details: London : Cassell, 1917. Quarto, pp. 128,
Ref: 1000

Leist Fred cover illustrationview full entry

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist
Publishing details: London : Cassell, 1917. Quarto, pp. 128,

Halpern Stacha printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Dawson Janet printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Smart Jeffrey printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hick Jacqueline printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Aldor Christine printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bannon Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Dallwitz David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Seidel Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

MacFarlane Pamela printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Schepers Karin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Cilento Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kempf Franz printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Olley Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hatch Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rigby John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Grey-Smith Guy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kahan Louis printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Moore Mary printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Stannage Miriam printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gibbons Tom printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Grey-Smith Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wallace-Crabbe Robin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wicks Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mann Gillian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Herel Petr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Schmeisser Jorg printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hinder Frank printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Coburn John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rooney Elizabeth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Allen Joyce printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hodgkinson Frank printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ewins Rod printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Barwell Geoff printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rosengrave Harry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hood Kenneth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McGilchrist Erica printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Adams Tate printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Brash Barbara printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Whisson Ken printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Stein Guenter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bizley Roy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Macqueen Mary printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Clifton Nancy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Reddington Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Thorpe Lesbia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Counihan Noel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Senbergs Jan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

King Grahame printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bilu Asher printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Brack John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Crooke Ray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rooney Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Baldessin George printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Cleghorn Tom printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ostoja-Kotkowski Stanislaus printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Robinson John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Stringer John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Palmer Ethleen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ogilvie Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Edwards Ron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Blackman Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Cant James printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burns Peter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Dalgarno Roy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burke Frances Fabrics printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Glass Raymond printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

David Allen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Thompson Roma printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Williams Fred printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Neeson John P printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Dent John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Clutterbuck Jock printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Moynihan Daniel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Leti Bruno printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wee Tak Kok printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Shomaly Alberr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hjorth Noela printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mantzaris Diane printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kelly William printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gerner Philip printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pugh Clifton Studio printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tucker Albert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

French Leonard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Drysdale Russell printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Original Graphics publisher of printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kemp Roger printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Looby Keith printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rees Lloyd printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Genis Fred printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Storrier Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Port Jackson Press printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McNeilage Ian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Graham Anne Marie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ball Sydney printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Worth Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Leach-Jones Alun printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Dumbrell Lesley printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wright Normana printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hardy Cecil printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Harper Melinda printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Leveson Sandra printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rudyard Carol printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Riddell Alan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Jacks Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Johnson Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Larter Richard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sharp Martin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Shead Garry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Latimer Bruce printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McBurnie Ron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Brown Mike printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Robinson Sally printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Powditch Peter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Davila Juan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Killen Virginia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Orchard Ken printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Worstead Paul printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Murray-White Clive printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Phoenix Frances (Budden) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Budden Phoenix Frances printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burns Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kossatz Les printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Jones-Roberts Gareth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lawton Tina printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lyons Trevor printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Coleing Tony printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Loane John printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Victorian Print Workshop printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Amor Rick printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sansom Gareth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gittoes George printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wei Guan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Genis Graphics printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Zulumovski Vera printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nedelkopoulos Nicholas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Young Bill printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Zofrea Salvatore printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Faggioni Giorgio printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Groblicka Lidia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Valamanesh Hossein printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Eager Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Binns Vivienne printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Watson Jenny printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ely Bonita printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lohse Kate printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Klein Deborah printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McDiarmid David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Moore Ross printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Arnold Raymond printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Experimental Art Foundation view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Sutinen Asko printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Arbuz Mark printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Little Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Earthworks Poster Collective printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Robertson Toni printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Danko Aleks printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Debenham Pam printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mackinolty Chips printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McMahon Marie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Women’s Domestic Needlework Group printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Martin Mandy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Newmarch Ann printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McKay Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Breen Leonard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Black Cat Collective printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Inkahoots printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gibb Viva Jillian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Corporate Art Terrorists printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Callaghan Michael printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Redback Graphix printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Grace Stephen printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Cullen Gregor designer and printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Duardo Oscar printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Garage Graphix printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hill Andrew printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Black Wendy printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Redletter Press printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Russell Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Shiels Julie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Another Planet Posters printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Red Planet Posters printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Porter Carol printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Young Ray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kozic Maria printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Spraycan Insurrection Against Capitalism view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mombassa Reg printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pinchuk Stanislava (Miso) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Miso - Stanislava Pinchuk printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tamanui Regan (HaHa) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

HaHa - Regan Tamanui printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tipungwuti Giovanni printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gilbert Kevin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burarrwanga Charlie Matjuwi printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Waradjima Albert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tungutalum Bede printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tjungarrayi Charlie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bulunbulun Johnny printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rawling Larry printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tjampitjinpa Dinny Nolan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Osborne Lindal printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mal Studio printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Maymuru Narritjin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tremblay Theo printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Singer Sadie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Marika Banduk printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burgess Ruth printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Iwantja Print Workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pike jimmy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Desert Designs view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gingingara Doris printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kunmanara Cherel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kantilla Kitty printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

King Martin printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Phillips Dennis Deeaggadditt printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Street Mervyn printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nyinawanga Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kantilla Fatima printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rogers Molly printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Andrews Daisy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Foley Fiona printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Meeks Arone Raymond printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pooaraar Bevan Hayward printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Casey Karen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bennett Gordon printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Watson Judy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Quaill Avril printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hinton-Bateup Alice printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pickett Byron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kennedy Roy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Abdulla Ian W printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Campbell Robert Jnr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Purdie Shirley printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Carlton Paddy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gohier Franck printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Marika Dhuwarrwarr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Stainer Leon printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mununggurr Marrnyula printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mununggurr Mundul printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Gaymala Nancy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wanambi Gundimulk printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Yunupingu Nancy Gaymala printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Maymuru-White Naminapu printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tipoti Alick printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Jose Ellen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mabo Gail printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Djumbungi Press printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Robinson Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nona Denis printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nona Laurie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Baira Frederick William printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Missi Billy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Akis Timothy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wungi Cecil King printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kauage Mathias printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lasisi David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kaikilekofe Patrice printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Matchitt Paratene printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Muka Studio printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kahukiwa Robyn printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Feu’u Fatu printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Tupou Samuel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

White Robin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pule John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Maguire Marian printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Burra Burra Djambu printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hall Basil printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Jappaljarri David Sambo printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Waistcoat Kerry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Marawill Marrirra printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Vongpoothorn Savanhdary printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Westcott Kim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Harris Brent printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Campbell Cressida printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

de Medici eX printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Atkis Rosalind printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Lincoln Kevin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Headlam Kristin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kontos Sarah printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Noonan David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Ross Joan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hanks Rew printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Parr Mike printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Viridian Press printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Barton Del Kathryn printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Kluge-Pott Hertha printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Payne Patsy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Nolan Rose printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Floyd Emily printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Harding Richard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Craig Carolyn printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Emmerson Neil printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

White Simon printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

King Martin printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Australian Print Workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Andrew Brook printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Rennie Reko printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Drew Peter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Iqbal Mehwish printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Hall Fiona printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Fox Belinda printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Mellor Danie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Maguire Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Armeneiro Tony printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wright Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Bot G W printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Milojevic Milan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

McBurnie Ron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Robinson William printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Leveson Neil printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Napangardi Dorothy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Wolseley John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Harding Dale printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

Pease Christopherview full entry

Reference: see Nyoongar Identity and the Art of Christopher Pease, by Ms Ainslie R. Gatt. This thesis is presented for the degree of Master of Curatorial Studies in Fine Art by Research, The University of Western Australia School of Design, September 2019.
This Master’s thesis explores the art and life of Christopher Pease. Whilst there are existing areas of scholarly research documenting Nyoongar Aboriginal art, the art of Christopher Pease remains relatively unexplored. Written in the form of a monograph, I explore Pease's life and a selection of his artworks, focusing on his paintings connected to Western Australia’s south coast and his Nyoongar heritage. The reader will gain an understanding of the politics of Aboriginal identity within an Australian postcolonial context and about Pease’s identity in relation to his Australian upbringing. I also provide an analysis of how Pease’s art is linked to Western modes of painting and extends existing scholarly research on Nyoongar Nation art and cultural practices. Finally, this provides a meaningful contribution towards a curatorial discourse on an accomplished Western Australian artist.

Lesueur Charles Alexandreview full entry

Reference: Charles-Alexandre Lesueur Artiste et Savant Français en Amérique... [’A detailed and surprisingly rare monograph on the Baudin voyage artist and naturalist Lesueur and the later period of his life spent in America, which includes a brief summary of his work on the Baudin expedition. He is renowned for his exceptional illustrations in the official publication of the voyage: ‘Lesueur’s scientific work runs parallel to artistic work of great importance. He was at one and the same time draughtsman and painter, naturalist and landscape artist. His talent was recognised in France in his own lifetime, by the award... of the silver medal of the Société des Beaux-Arts...’ (Baudin in Australian Waters, p. 26).
This publication is of particular interest for Lesueur’s later career. In 1815, he travelled to
the United States with the American geologist William Maclure, and in 1825 joined the New Harmony commune in Indiana soon after it was founded. It was during this period that he cemented his reputation as a naturalist, especially for his work in conjunction with the Ameri- can Thomas Say.’ from Hordern House catalogue, 2022]
Publishing details: Large octavo, 42 plates; in marbled parchment boards, original wrappers. Le Havre, Museum d’histoire naturelle, 1920.

Ref: 1000

Gascoigne Rosalieview full entry

Reference: Rosalie Gascoigne exhibition catalogue, Ros Oxley9 Gallery, 1 April - 2 May, 1998, includes biography and list of 23 works with prices.
Publishing details: Ros Oxley9 Gallery, 1998, 4pp
Ref: 145

Hesling Bernard illustratorview full entry

Reference: Those Beastly Australians, some faunagraphic data compiled for students of Australian wild life, by Leon Gellert, illustrated by Bernard Hesling
Publishing details: Sydney, N.S.W. : Australasian Pub. Co., [1944]
52 p. : ill. ;

Other Voicesview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]
Publishing details: August/September, 1970
Ref: 89

Brook Donaldview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article by Donald Brook on ‘Multiles and Unlimiteds’.
Publishing details: August/September, 1970

Paramor Wendyview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on Wendy Paramor by Alan Oldfield.
Publishing details: August/September, 1970

Oldfield Alanview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on Wendy Paramor by Alan Oldfield.
Publishing details: August/September, 1970

Peart Johnview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on John Peart by Gary Catalano.
Publishing details: August/September, 1970

Ahern Davidview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article by David Ahern
Publishing details: August/September, 1970

Lanceley Colinview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes interview with Colin Lanceley by Robert Coles-Stokes
Publishing details: August/September, 1970

Pinacotheca Group Exhibitionview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on Pinacotheca Group Exhibition
Publishing details: August/September, 1970

Doolin Jamesview full entry

Reference: Other Voices, Vol 1 no. 2 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on James Doolin by P. E. McGillick
Publishing details: August/September, 1970

Colour Form Painting Sydney 1965-70 view full entry

Reference: see Other Voices, Vol 1 no. 1 - a critical journey 1970 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes article on Colour Form Painting Sydney 1965-70 by Terry Smith
Publishing details: June-July, 1970

Oldfield Alanview full entry

Reference: see Other Voices, Vol 1 no. 1 - a critical journey 1970 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes 4 drawings by Alan Oldfield
Publishing details: June-July, 1970

Nolan Sidneyview full entry

Reference: see Other Voices, Vol 1 no. 1 - a critical journey 1970 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes review of ‘Nolan’s Paradise Garden’ by G. R. Lansdell.
Publishing details: June-July, 1970

French Leonardview full entry

Reference: see Other Voices, Vol 1 no. 1 - a critical journey 1970 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]. Includes review of Leonard French exhibition by Terry Smith
Publishing details: June-July, 1970

Pagram Edwardview full entry

Reference: Never had it so good, written and illustrated by Edward Pagram
Publishing details: Melbourne, London, Heinemann [1968]
109 p. illus.

Pagram Edwardview full entry

Reference: A view of London / by Edward Pagram ; with an introd. by Colin Wilson [cartoons]
Publishing details: London : H. Hamilton, 1963
[66] leaves
Ref: 1000

Pagram Edwardview full entry

Reference: Faces of Perth. Text and editing [by] Paul Ritter. Paintings and drawings [by] Edward Pagram.

Publishing details: Kelmscott, Perth, Ritter Press, 1967
Ref: 1000

Pagram Edwardview full entry

Reference: A vision of battlements [by] Anthony Burgess. Illustrated by Edward Pagram

Publishing details:
London, Sidgwick and Jackson [1965]
Ref: 1000

Lindsay Norman koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

Outhwaite Ida Rentoul koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

Gibbs May koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

Wall Dorothy koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

Argent Kerry koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

Harcus Annette koalasview full entry

Reference: see Picture the Koala. A light-hearted look at children's book illustrations. An exhibition curated by the James Hardie Library for the Power House Museum at The Mint September 1986-January 1987. By Robert Holden
Publishing details: Sydney 1986. 8vo. Orig. illust. wrapper. 20pp. With numerous illusts.

sculpture in the 1960sview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3.
Publishing details: October/December,1970

Hinder Margelview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Klippel Robertview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

van der Struik Berend p7view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Hohaus Hermann p7view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Dadswell Lyndonview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Meadmore Clementview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Parr Lentonview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Kane Juliusview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Broughton Owen mentioned p9view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Lyle Max view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Clements Bill mentioned p9view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Bishop Tony mentioned p9view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Murray-White Clive mentioned p9view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Richmond Oliffeview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Gregory Billview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Lendon Nigel mentionedview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Bass Tomview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Lewers Geraldview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Brook Donaldview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Kitching Michael mentionedview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Bow Ian mentionedview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Sinclair Margaret mentionedview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Hepworh Barbaraview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Walker Stephen view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Jomantas Vincasview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Last Cliffordview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Miller Charles A footnote p 15view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Priest Margaret footnote p 15view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes article ‘Australian Sculpture in the 1960s’, by Noel Hutchinson. This was apparently the first of three articles but Other Voices ceased publication after number 3. The artist is discussed in this article.
Publishing details: October/December,1970

Danko Aleksanderview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Includes photo essay on work by the artist.
Publishing details: October/December,1970

Stuart Guyview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Included in essay by Margaret Plant with comments on artists.
Publishing details: October/December,1970

Partos Paulview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Included in essay by Margaret Plant with comments on artists.
Publishing details: October/December,1970

Parks Ti p41view full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Included in essay by Margaret Plant with comments on artists.
Publishing details: October/December,1970

VickersTrevorview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)] Included in essay by Margaret Plant with comments on artists.
Publishing details: October/December,1970

Wallace-Crabbe essay byview full entry

Reference: Other Voices, Vol 1 no. 3 [there were 3 issues - Vol. 1, no. 1 (June/July 1970)-v. 1, no. 3 (Oct./Dec. 1970)]
Publishing details: October/December,1970

Taweel Shirleenview full entry

Reference: see Look Magazine Art Gallery Society of NSW, Fb - March, 2022. Artist’s choice of works in the gallery. And ‘New Acquisition’, ‘tracing transcendance’, p 60-1
Publishing details: Look, 2022

Coelho Kirstenview full entry

Reference: see Look Magazine Art Gallery Society of NSW, Fb - March, 2022. Article on the artist titles ‘ A narrative of objects’. By Sarah Couper. p42-6
Publishing details: Look, 2022

Nicholas Hilda Rix new acquisition AGNSWview full entry

Reference: see Look Magazine Art Gallery Society of NSW, Fb - March, 2022. Article by Denise Mimmochi on new acuiisition The Arab Sheep Market.
Publishing details: Look, 2022

Christmas Ethelview full entry

Reference: see GFL Fine Art auction 10th of February, 2022, lot 40:
ETHEL CHRISTMAS
CASWELL SOUND NEW ZEALAND
Signed and dated 1901 lower left
Oil on canvas
23.5.x 35cm
Frame: 39 x 52 x 7cm

Ethel Christmas was the sister of Ernest W. Christmas. She held an exhibition of her works in Perth in 1900 at Bickfords Coloseum. This is the first painting by the artist to appear in auction.

The work is in sound condition, however, would benefit from a clean. The period frame is scratched and has numerous plaster losses.

Henderson Edmund Yeamans Walcott 1821-1896view full entry

Reference: see GFL Fine Art auction 10th of February, 2022,
47
EDMUND YEAMANS WALCOTT HENDERSON (1821-1896)
BRUTON SOMERSET
Label verso
Watercolour gouache and collage
33 x 49cm
Frame: 58 x 73 x 3.5cm

Captain Henderson arrived in Fremantle in 1850 with the first group of convicts. He had been appointed as the Comptroller of Convicts and Chief Engineer charged with establishing the convict penal system throughout the colony.

The work is in good condition though the paper has discoloured with age. There are spots of foxing in the top quarter of the image and a crease in the upper left corner. Artwork has not been de-framed and inspected for the purpose of this condition report.

Somerscales Thomas Jacques (1842-1927) view full entry

Reference: see P&R Auctions Collectors ServiceQC, Canada, Fine Arts, Jewelry, Coins, Medals and more, Feb 15, 2022, lot 79: Somerscales, Thomas Jacques (1842-1927) UK Title: Rounding Tasmania (1898) Description (FR): Huile sur panneau, signee en bas a droite T.J. Somerscales, titree et datee en bas a gauche Rounding Tasmania 16.3.98 Description (ENG): Oil on board, signed on lower right T.J. Somerscales, titled and dated on lower left Rounding Tasmania 16.3.98 Dimension (PO): 18" x 24" Dimension (CM): 45.72 x 60.96 cm

Dudley Rodview full entry

Reference: Rod Dudley in Italy 1965 - 1993, by F. Buzio Negri .
Publishing details: The Artist, 1994. First Edition. Paperback. 52pp
Ref: 1000

Moore Kenview full entry

Reference: see Roseberys auction, February 15, 2022, lot 116 Ken Moore, British/Australian b.1923 - Plantagenet, London, 1960; oil on canvas, signed lower right 'Kenneth Moore' and titled and dated on the reverse, 50.6 x 53.3 cm (ARR) Note: In 1963 the artist was the director of the London-based Commonwealth Biennale of Abstract Art, which followed the vision of curators Denis Bowen and Frank Avray-Wilson, and an exhibition prize was awarded to Aubrey Williams.

Graham Anne Marieview full entry

Reference: see Artmarketspace auction, Sunday 27th February, 2022, online, 20 works. The public viewing will take place from Thursday February 24th through to Sunday February 27th from 11am to 5pm daily at 78B Charles Street, Putney, NSW 2112.

Place makersview full entry

Reference: PLACE MAKERS: CONTEMPORARY QUEENSLAND ARCHITECTS. by Miranda Wallace; Sarah Stutchbury
Publishing details: Brisbane: Queensland Art Gallery, 2008.
First Edition.
30.5cm x 24cm. 320 pages, colour photographs.
Ref: 1000

architecture queenslandview full entry

Reference: see PLACE MAKERS: CONTEMPORARY QUEENSLAND ARCHITECTS. by Miranda Wallace; Sarah Stutchbury
Publishing details: Brisbane: Queensland Art Gallery, 2008.
First Edition.
30.5cm x 24cm. 320 pages, colour photographs.

Thurston Elizaview full entry

Reference: see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 114: Eliza Thurston (1807-1873)
Capertee Valley Taken From Crown Ridge Sydney Road, c. 1868
watercolour and gouache on paper
Measurements:
38 x 52 cm
Provenance:
Exhibited: The Artist and The Patron, Aspects of Colonial Art in New South Wales, Art Gallery New South Wales, 2 March - 1 May 1988, Cat. No. 105, Illustrated pg 123, The Collection of Robert Hutchinson, Sydney
Labels:
Similar work illustrated 'Painted Panorama, Paintings from the Mitchell and Dixon Collections, State Library of NSW', pg 126/127

Bottrell Anneview full entry

Reference: see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 118: Anne Bottrell (19th Century)
Harbour View with Sailboat, 1884
hand painted on terracotta plaque, signed and dated l.r.c. ‘Anne Bottrell 1884’, with ‘Eneret P-Ipson Kjobenhavn, 431’ embossed mark verso, A/F
Measurements:
oval 30 x 40 cm
Provenance:
The Collection of Robert Hutchinson, Sydney

Gibbes Francis Blowerview full entry

Reference: see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 119: Frances Blower Gibbes (Scottish/ Australia 1815-1904)
Staghorn Creek Yackandandah, 1876
watercolour on paper, signed and dated l.r.c. ‘F.B. Gibbes 1876’
Measurements:
19 x 29 cm
Provenance:
The Collection of Robert Hutchinson, Sydney

Hing Luin view full entry

Reference: see see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 129: Luin Hing (19th/ Early 20th Century)
Portrait of a Mature Lady wearing a black bonnet of feathers and frills, c.1890's-1900's
she holds black gloves in her lap and is seated next to a basket of flowers, oil on canvas, stamped to canvas verso ‘Luin Hing, Portrait Painter, 197 George Street Sydney’
Measurements:
58.5 x 44 cm
Provenance:
The Collection of Robert Hutchinson, Sydney

Howes William Henry 1856-1911view full entry

Reference: see see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 203: William Henry Howes (1856-1911)
The Circular Quay & Exhibition NSW, 1889
watercolour on paper, signed and dated l.l.c. ‘W.H. Howes, 1889’
Measurements:
17.5 x 30 cm
Provenance:
The Collection of Robert Hutchinson, Sydney

Woodthorpe Vincentview full entry

Reference: see see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 206: Vincent Woodthorpe (1764-1822)
East View of Sydney, South View of Sydney New South Wales, 1803
pair of etchings, hand coloured, published by M. Jones, Paternoster Row. Feb 5 1803 (2)
Measurements:
10 x 15.5 cm; 10 x 15.5 cm

Burgess Evelyn Mview full entry

Reference: see see Shapiro auction, Sydney, The Robert Hutchinson Collection of Australiana
Auction Tuesday 22 February, 2022, lot 227: Eveline M. Burgess (20th Century)
Homestead Scene
oil on board, signed l.c. ‘Eveline M. Burgess’
Measurements:
49 x 75 cm

Bischof Wenerview full entry

Reference: BISCHOF, Marco.
QUESTIONS TO MY FATHER: A TRIBUTE TO WERNER BISCHOF. By Marco Bischof

Publishing details: Trolley Ltd., 2004.
4to, 160pp. Black & white illustrations.
Ref: 1000

Binns Vivienneview full entry

Reference: see The Conversation, February 10, 2022, Review: Vivienne Binns: On and through the Surface, MUMA’ by Julie Shiels, Lecturer - School of Art, RMIT University

Valamanesh Hossein 1949-2022view full entry

Reference: see obituary, by John McDonald, Sydney Morning Herald, 11 February, 2022, p 34
Publishing details: SMH, 11 February, 2022, p 34

Valamanesh Angela view full entry

Reference: see refereneces to in the obituary for Hossein Valamanesh, by John McDonald, Sydney Morning Herald, 11 February, 2022, p 34
Publishing details: SMH, 11 February, 2022, p 34

Case that Stopped a Nation Theview full entry

Reference: The Case that Stopped a Nation -
The Archibald Prize Controversy of 1944.
By: Peter Edwell. [Artists with significant references in this book have been included in Scheding Index. Other artists still to be indexed?] [’A lively and thorough telling of one of Australia's greatest front page scandals, involving key figures of the nation's art movement, politicians and business leaders, with William Dobell and Joshua Smith caught in the middle. Whilst World War II raged overseas, Australia's Archibald Prize, the wealthiest portrait prize in the world, drew huge crowds and torrents of gossip. This big illustrated book details the bizarre court case, the cast of odd characters and the aftermath, with informative context.’]
Publishing details: Halstead Press, 2021, hc, 240pp, with bibliography and index.

Archibald Prizeview full entry

Reference: see The Case that Stopped a Nation -
The Archibald Prize Controversy of 1944.
By: Peter Edwell. [’A lively and thorough telling of one of Australia's greatest front page scandals, involving key figures of the nation's art movement, politicians and business leaders, with William Dobell and Joshua Smith caught in the middle. Whilst World War II raged overseas, Australia's Archibald Prize, the wealthiest portrait prize in the world, drew huge crowds and torrents of gossip. This big illustrated book details the bizarre court case, the cast of odd characters and the aftermath, with informative context.’]
Publishing details: Halstead Press, 2021, hc, 240pp

Destination Sydneyview full entry

Reference: DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Ross Joan essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Lowry Fiona essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Esson Merran essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Laurence Janet essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Rothwell Caroline essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Stacey Robyn essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Oliver Bronwyn essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Kitson Juz essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Keeler-Milne Jennifer essayview full entry

Reference: see DESTINATION SYDNEY: THE NATURAL WORLD, A COLLABORATION BETWEEN THREE SYDNEY PUBLIC GALLERIES. [’The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery.
Like its preceding exhibitions, it showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for organic forms found in nature and the environment.
Destination Sydney: the natural world presents the work of a group of key Australian artists whose art practice has become synonymous with the natural world: Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
This exhibition is part of the 2022 Sydney Festival.
The exhibition catalogue is generously supported by the Gordon Darling Foundation.’]
Publishing details: Manly Art Galery & Museum, Mosman Art Gallery, S. H. Ervin Gallery, 2022, pb, 119pp

Binns Vivienneview full entry

Reference: see The Saturday Paper, Edition No. 386
February 12–18, 2022, profile by Helen Hughes. This article was first published in the print edition of The Saturday Paper on Feb 12, 2022 as "Being human".

Tufnell Cdr. Eric Erskine Campbell 1888-1978view full entry

Reference: see REEMAN DANSIE auction, UK, 27.2.22 lot 102: Cdr. Eric Erskine Campbell Tufnell, R.N. (1888-1978) watercolour - H.M.S. Newcastle, Sydney Harbour signed, 37cm x 26cm in glazed frame, together with 3 photographs. (4)

Kahler Carl view full entry

Reference: see art calendar, Valley Mercantile Co, Hamilton, MT, (USA) Jan. 1912, features painting of horses by Carl Kahler titled 128 Late for Supper; a copy of this in lot 1532,
Holabird Western Americana Collections, Western Trails & Treasures Auction Day 1, 25.2.22. Note: all calendar art copyrighted by the Thomas D. Murphy Company of Red Oak, Iowa. Murphy, along with a partner, started the company in 1888 and became the nation's premier calendar art company for over 100 years. Today, the company's original power plant building is on the National Register of Historic Places.Date: Country (if not USA): State: City: Provenance: Stuart Mackenzie Montana Mining Collection.

Works on Paper 2view full entry

Reference: Works on Paper 2 - Regional Development Program Exhibition. Gunter Christmann, Richard Havyaatt, Allan Mitelman, John R. Neeson. 1978 exhibition in New South Wales, Queensland, and Victoria, in Australia (many photos of works)
Publishing details: Visual Arts Board Australia Council, nd c.1978, pb, 76pp
Ref: 1000

Melbourne lifeview full entry

Reference: Melbourne life : numerous beautiful full-page illustrations by popular artists.

Publishing details: Melbourne : Herbert Woodhouse, [ca. 1896] [32] pages : illustrations, portraits
Ref: 1009

Woodhouse Herbertview full entry

Reference: see Melbourne life : numerous beautiful full page illustrations by popular artists

Publishing details: Melbourne : Herbert Woodhouse, [ca. 1896] [32] pages : illustrations, portraits

Woodhouse Frederick Snr view full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

Woodhouse Frederick Jnr view full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

Woodhouse Clarence view full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

Woodhouse Herbert view full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

Woodhouse Edwin view full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

sporting paintersview full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

Australian Colonial sporting paintersview full entry

Reference: see Australian Colonial sporting painters : Frederick Woodhouse and sons, by Colin Laverty. Bibliography: p.105-108. This book reviews the sporting paintings of Frederick Woodhouse Snr and his four sons: Frederick Jnr, Clarence, Herbert & Edwin. As the blurb says: 'The family's large and varied output provides fascinating documentation of some of the recreations and other activities of the colonists, particularly horse racing, coursing and hunting.'
Publishing details: David Ell Press, 1980, 108p. : ill.(some col.),

kangaroos in artview full entry

Reference: see Kangaroo - Images through the Ages, compiled and written by R. M. Younger
Publishing details: Century Hutchison. 1988

Watters Frankview full entry

Reference: Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Adams Judeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Afshar Hodaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Alder Alisonview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Allan Mickyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Andrews Daisyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Angeloro Danview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Angeloro Domview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Archer Suzanneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Art/Mumsview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bad Mothersview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Baker Ali Gumilaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Baker Nyukana (Daisy)view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Baker Suview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Smith Baker Dianaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Cleveland Barbaraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Barrett Francesview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bates Tjpart Ji Kanytjuriview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bell catherineview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bellear Lisaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bennett Shirleyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Benson Kanytupayi view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Butler Romaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bertram Hannahview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Beynon Kateview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bezor Annetteview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Binns Vivienneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bishop Oliveview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bleach Lucyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Boddy Janet rview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bolt Barbaraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Borgelt Marionview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Brassington Patview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Bronte Hannahview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Budden/Phoenix Francesview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Burton Janeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Byrnes Theresaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Campbell Barbaraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Casey Karenview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Cherry Catherineview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Chicks on Speedview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Cironis Olgaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Clemens Charlotteview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Coats Elizabethview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Chocka Bindy Coleview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Coles Renaeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Connelly-Northy Lorraineview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Connelly Jennifer Mintiyiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Coombs Courtneyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Cope Meganview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Coppola Filomenaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Coventry Virginiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Croft Belinda Lview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Daniels Dolly Nampijinpaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Darbyshire Joview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Davidson Nora Nyutjankaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Davies Isabelview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dawson Janetview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Day Elizabethview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

de Medici Exview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Deacon Destinyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dement Lindaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dickens Karlaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dodd Margaretview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Doley Kellyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Donegan Margaretview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Donegan Melissaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Donegan Nuniwaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dowling Julieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dreyfus Ellaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Drouhin Juliaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Drummond Rosalindview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dumbrell Lesleyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dunnill Annaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Dwyer Mikalaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Edwards Sandyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Elliott Michelleview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ellis Tanyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ely Bonitaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fahd Cherineview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fairskye Merilynview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Farman Nolaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Feminist Colour-Inview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Femmoview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fereday Susanview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ferran Anneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ferrier Taniaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ferris Deniseview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fieldsend Janview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fitzpatrick Talview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fiveash Tinaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Floyd Emilyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Foley Fionaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Forbes Janet Nyumit Jiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Forbes Rubyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ford Sueview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fox Yangi Yangiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Francovich Aliciaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Fraser Virginiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Furler Leoneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Garage Graphixview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Gascoigne Rosalieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Gebhardt Amosview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Gertsakis Elizabethview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Giles Kerry (Kurwingie)view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Godden Vanessaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Gough Julieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Gower Elizabethview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Grace Helenview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Green Deniseview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Green Janinaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Grokhovsky Katyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Grounds Joanview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Guppy Marlaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hall Fionaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hardy C Mooreview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hawkes Ponchview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hayes Siriview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Haynes Rachelview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Headlam Kristinview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hessing Monaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hewson Sophiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hibberd Lilyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hine Simoneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hinton--Bateup Aliceview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hoffie Patview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hotham Street Ladiesview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hughes Saraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Hutchinson Ruthview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jenkins Caseyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jerrems Carolview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Johnson Helenview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jones Dianneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jones Lyndalview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jubelin Narelleview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Juli Mabelview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Just Kateview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kaika-Burton Nyurpayaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kelly Deborahview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ken Illawanti Ungut Juruview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Smith Leah Kingview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kngwarrwey Emily Kameview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Knitting Nannasview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Koolmatrie Yvonneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kosloff Laresaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kozic Mariaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Kulitja Reneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

La Motte Pruview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Laing Rosemaryview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Bonnieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Deidreview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Elaine Warnat Juraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Freda Yimunyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Janetview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Jeanview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Miriam Iwanyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lane Wendyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lawrence Kayview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lee Lindyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Levelview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lewis Claudia Yayimpiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lewis Niningkaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lewis Yvonneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Loder Nicolaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Long Susanview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lyon Angelaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lyon Sarkawayview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lyons Mildredview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lyons Paula Sarkawayview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McDonald Fiona QLD/NSWview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McDonald Fiona VICview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McGilchrist Ericaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McGregor Fionaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

MacGuire Georgiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mackay Janview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McKenzie Queenie (Gara-Gara)view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mackinolty Chipsview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

McMahon Marieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mangano Gabriellaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mangano Silvanaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Marrinon Lindaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Marsh Anneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Martin Mandyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Matinis-Roe Alexview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mesiti Angelicaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Milani Lyndallview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Miller Mollyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mitchell Angkaliyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mitchell Angilyiya Japatiiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mitchell Jennifer Nginyakaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Moffatt Traceyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Morgan Harriet Kateview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Morgan Sallyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Mosey Anneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Murray Janview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Napangardi Dorothyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Napangati Pansyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Nasr Nasimview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Nat & Aliview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Nelson Angkaliyaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Nelson Gailview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Newmarch Annview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Nicholls Glendaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Noone Brigidview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Norrie Susanview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Oosterweghel Miraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ormella Raquelview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Orr Jillview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ou Selinaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Paauwe Deborahview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Papapetrou Polixeniview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Pan Mary Katat Juku view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Parragirlsview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Paton Natalieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Peterman Sandraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Petyarrie Kathleenview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Phillips Debraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Piccinini Patriciaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Piggott Rosslyndview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Platten Annaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Presa Elisabethview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Purdie Shirleyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Pwerle Angelinaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Quail Avrilview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Qureshi Nusra Latifview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Rae Clareview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Raison Hannaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Raskopoulos Eugeniaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Redgate Jackieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Richardson Elvisview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ritchie Thereseview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Roberts Tjawinaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Robertson Toniview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Ross Ninaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Rrapp Julieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sanderson Alexandraview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Scarce Yhonnieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Scott Jillview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Senvoodooview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Lewitt Vivienne Sharkview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sheridan Anneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sisters Akousmaticaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Smart Sallyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Smith Maryview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Snaith Taiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Snapcatview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Soda Jerkview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Jerk Soda view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sproul Lindaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Stacey Robynview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Stafford Pipview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Stannage Miriamview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Staughton Cathyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Stavrianos Wendyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Stewart Tyzaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sunday Schoolview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Tapaya Tjunkayaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Temin Kathyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Thomas Natalieview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Thompson Carleneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Timbery Esmeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Tjanpi Desert Weaversview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Desert Weavers - Tjanpi view full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Trengove Janeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Trotter Penelopeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Varvaressos Vickiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

VNS Matrixview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Walker Lyndalview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Walton Judeview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wammettesview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Watson Jennyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Watson Judyview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Watson Nyanuview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wiseman Gwendaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wladarczak Gosiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wojak Anaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Woods Sharonview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Worth Margaretview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wright Judithview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Wright Shevaunview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Xeros-Constantinidis Sophiaview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Yankarr Paji Honeychildview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Young Yaritjiview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Younger Jayview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Zahalka Anneview full entry

Reference: see Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Sutherland Jane 1853 - 1928view full entry

Reference: see Leski Auctions, Melbourne, The Estate of Martin Sachs, Fine Art and Wine, 8 March, 2022, lot 1: JANE SUTHERLAND (1853 - 1928)
Girls picking blackberries,
pastel and gouache on board,
signed lower right,
23.5 x 29.5cm.
Sutherland was a landscape painter who was part of the pioneering plein-air movement in Australia, and a member of the Heidelberg School. Her advocacy for the advancment of the professional standing of female artists during the late nineteenth century was also a notable achievement. Sutherland was the leading female artist in the group of Melbourne painters who worked outside the studio; she took plein-air sketching trips to the outlying rural districts of Alphington, Templestowe and Box Hill with her male contemporaries of the Heidelberg School. Unlike her contemporaries, Tom Roberts, Arthur Streeton and Charles Conder, Sutherland, as a female, was unable to stay with the men at the campsites overnight, and instead made day journeys to the campsites.
Sutherland's body of work mainly focused on Australian landscapes, with the inclusion of women and children interacting with nature. Narrative is suggestive in her works as she leaves an impression of the land and her figures turn away from the viewer. Despite her efforts and success, Sutherland found difficulties in being considered a serious and professional artist. Sutherland was forced to price her paintings at a tenth of the value of her male peers. Very few are held in private collections.

Passmore John 1904-84view full entry

Reference: see Leski Auctions, Melbourne, The Estate of Martin Sachs, Fine Art and Wine, 8 March, 2022, lot 2:
JOHN RICHARD PASSMORE (1904 - 84)
Bathers,
oil on board, circa 1940s,
26.5 x 42cm

With Macquarie Galleries label verso "certifying that this painting is an original work by John Passmore, painted in England during the 1940s, from the collection of Mr. Reginald Jenkins, at whose country house Passmore frequently stayed."

Passmore, like so many of Australia’s most rigorous artists who painted in Europe in the 1920s and 1930s, studied Cézanne for most of his professional life. “... There's two things about Cézanne - you can imitate him as much as you like and you can fall flat on your face ... what you have to do is study him as deeply as he studied himself".

Miller Godfreyview full entry

Reference: see Leski Auctions, Melbourne, The Estate of Martin Sachs, Fine Art and Wine, 8 March, 2022, lot 14:
GODFREY CLIVE MILLER (1893 - 1964),
Still life arrangement on table,
oil and pencil on canvas on board,
initialled 'CGM' lower right,
41 x 52cm.

Miller held only four solo exhibitions, the second a retrospective mounted by the National Gallery of Victoria in 1959. In all, he only ever showed about forty paintings. He published a pamphlet (1959) elaborating the philosophical stance reflected in his paintings, and a book, '40 Drawings by Godfrey Miller' (Sydney, 1962).

Following his death on 10 May 1964 at his Paddington home, a hoard of his paintings was discovered in his house which formed the basis of the Godfrey Miller Memorial Exhibition, held in Sydney in 1965. Miller's achievement lay in melding early twentieth-century practices and theories of picture-making with symbolic traditions to express an enigmatic, poetical mysticism.

Kleinert Ingoview full entry

Reference: see Leski Auctions, Melbourne, The Estate of Martin Sachs, Fine Art and Wine, 8 March, 2022, lot 20:
INGO KLEINERT (b.1941),
Nature has a repetitive pattern of growth,
watercolour,
signed and dated '66 lower right,
33 x 24cm.

Kleinert is represented in private and corporate collections in Australia and overseas, in university collections and in state and regional galleries His work is also held by Art Bank, MONA, National Gallery of Australia and Parliament House Canberra. A monograph, Ingo Kleinert:Two Decades (2010), edited by Merryn Gates (www.merryngates.com) was published in 2010 by sfa press.

© Ingo Dietmar Kleinert/Copyright Agency, 2022

Oliveiro Hugh b1938view full entry

Reference: see Leski Auctions, Melbourne, The Estate of Martin Sachs, Fine Art and Wine, 8 March, 2022, lot 20:
HUGH OLIVEIRO (b. 1938),
Bush Concerto,
acrylics on board,
signed and dated 1977 lower right,
38 x 42cm.

Oliveiro designed sets and costumes for the Australian Ballet’s production of the Nutcracker. A massive 74 paneled mural for the Victorian Arts Centre in Melbourne, now a heritage listed work of art, was a commission in 1983.

Whiteley Brett (1939 - 92)view full entry

Reference: Brett Whiteley - Towards Sculpture, 1977 portfolio sub-titled "eight studies of the nude",
Publishing details: printed by Ganymead Original Editions Limited, London;
signed by the artists and numbered edition of 5?"
91 x 63.5 cm (sheets).

Ref: 1000

Jonsson Ted Guy 1935-2018view full entry

Reference: see Scammells auction, Adelaide, The Estate of Ted Jonsson - 21st of February, 2022, various works. Ted Guy Jonsson was an Adelaide artist, known for his creative sculptures and assemblages. Jonsson was born in Stockholm, Sweden in 1935 and moved to Australia in the 1970s where he began his artistic career in the 1980s. He sourced used metal & other objects, and gave them a new life through his artistic practice. Jonsson's work has been exhibited at the Jam Factory, Greenaway Gallery, Mildura Arts Centre and the Adelaide Festival Centre. The National Gallery of Australia also holds a collection of linocuts.

Wadsworth S gum leaf paintingview full entry

Reference: see Douglas Stewart Fine books press release 14.2.2022: Gum leaf painting of the Russell Falls, Tasmania, circa 1890. Oil on gum leaf, 150 x 105 mm (irregular); signed by the artist in the image lower right ‘S. Wadsworth’; very well preserved; laid down on a slightly later paper mount (1920s?) with two inscriptions in ink ‘Russell Falls, Tasmania’ and ‘Australian scene on gum leaf’, in a glazed frame (of the same period as the mount);
Because of their brittle and ephemeral nature, genuine Australian gum leaf paintings from prior to the World War One period (especially nineteenth-century examples) are rare survivors. These exquisite miniature works are highly sought after by collectors of both Australian folk art and Australiana, as the medium comfortably crosses over genres. ‘Possibly the rarest of Australian collectables today, these examples of Australian popular or folk art are expressions of a remarkably innocent period of cultural isolation….’ (Vane Lindesay, Aussie-osities. Richmond, Vic. : Greenhouse, 1988, p. 99)
Alfred William Eustace (1820-1907), an English-born landscape painter, poet and taxidermist, is credited with being the first exponent of gum leaf painting in the Australian colonies. He first experimented with the medium as early as 1851-52, while in the Ovens District of northern Victoria. In 1869, a pair of his gum leaf paintings was exhibited in Melbourne at the Art and Art Treasures Exhibition, which would have brought the practice to widespread public attention. Indeed, it became a popular folk art medium that remained in vogue in the colonies up until the 1890s. The preponderance of subjects in known nineteenth-century examples – such as the one offered here – are bush scenes. (Later on, when Australian soldiers went to fight in the Middle East and Europe during World War One, there would be a huge revival in gum leaf painting: leaves decorated with motifs such as the kookaburra and kangaroo, along with patriotic messages, were a convenient and hugely popular type of memento from home that could be sent to loved-ones fighting overseas).
Two other examples of gum leaf paintings by S. Wadsworth – one a scene in the Blue Mountains, New South Wales and the other a Victorian landscape at dusk – are reproduced in Lindesay (ibid., pp. 98-99), who describes the gum leaf painting process thus: ‘The preparation for this socially fascinating pastime was simple indeed. When a suitably shaped living leaf was chosen – dead leaves were far too brittle – it was then left to dry, often pressed under a weight to prevent curling. It was then painted green all over, thus adding a fresh appearance and strength to the dry fibre. The decoration was finally added to the leaf in oil paint with a sable hair brush.’ (ibid. pp. 97 and 99).

Eustace Alfred William (1820-1907 gum leaf paintingsview full entry

Reference: see Douglas Stewart Fine books press release 14.2.2022: Gum leaf painting of the Russell Falls, Tasmania, circa 1890. Oil on gum leaf, 150 x 105 mm (irregular); signed by the artist in the image lower right ‘S. Wadsworth’; very well preserved; laid down on a slightly later paper mount (1920s?) with two inscriptions in ink ‘Russell Falls, Tasmania’ and ‘Australian scene on gum leaf’, in a glazed frame (of the same period as the mount);
Because of their brittle and ephemeral nature, genuine Australian gum leaf paintings from prior to the World War One period (especially nineteenth-century examples) are rare survivors. These exquisite miniature works are highly sought after by collectors of both Australian folk art and Australiana, as the medium comfortably crosses over genres. ‘Possibly the rarest of Australian collectables today, these examples of Australian popular or folk art are expressions of a remarkably innocent period of cultural isolation….’ (Vane Lindesay, Aussie-osities. Richmond, Vic. : Greenhouse, 1988, p. 99)
Alfred William Eustace (1820-1907), an English-born landscape painter, poet and taxidermist, is credited with being the first exponent of gum leaf painting in the Australian colonies. He first experimented with the medium as early as 1851-52, while in the Ovens District of northern Victoria. In 1869, a pair of his gum leaf paintings was exhibited in Melbourne at the Art and Art Treasures Exhibition, which would have brought the practice to widespread public attention. Indeed, it became a popular folk art medium that remained in vogue in the colonies up until the 1890s. The preponderance of subjects in known nineteenth-century examples – such as the one offered here – are bush scenes. (Later on, when Australian soldiers went to fight in the Middle East and Europe during World War One, there would be a huge revival in gum leaf painting: leaves decorated with motifs such as the kookaburra and kangaroo, along with patriotic messages, were a convenient and hugely popular type of memento from home that could be sent to loved-ones fighting overseas).
Two other examples of gum leaf paintings by S. Wadsworth – one a scene in the Blue Mountains, New South Wales and the other a Victorian landscape at dusk – are reproduced in Lindesay (ibid., pp. 98-99), who describes the gum leaf painting process thus: ‘The preparation for this socially fascinating pastime was simple indeed. When a suitably shaped living leaf was chosen – dead leaves were far too brittle – it was then left to dry, often pressed under a weight to prevent curling. It was then painted green all over, thus adding a fresh appearance and strength to the dry fibre. The decoration was finally added to the leaf in oil paint with a sable hair brush.’ (ibid. pp. 97 and 99).

gum leaf paintingsview full entry

Reference: see Douglas Stewart Fine books press release 14.2.2022: Gum leaf painting of the Russell Falls, Tasmania, circa 1890. Oil on gum leaf, 150 x 105 mm (irregular); signed by the artist in the image lower right ‘S. Wadsworth’; very well preserved; laid down on a slightly later paper mount (1920s?) with two inscriptions in ink ‘Russell Falls, Tasmania’ and ‘Australian scene on gum leaf’, in a glazed frame (of the same period as the mount);
Because of their brittle and ephemeral nature, genuine Australian gum leaf paintings from prior to the World War One period (especially nineteenth-century examples) are rare survivors. These exquisite miniature works are highly sought after by collectors of both Australian folk art and Australiana, as the medium comfortably crosses over genres. ‘Possibly the rarest of Australian collectables today, these examples of Australian popular or folk art are expressions of a remarkably innocent period of cultural isolation….’ (Vane Lindesay, Aussie-osities. Richmond, Vic. : Greenhouse, 1988, p. 99)
Alfred William Eustace (1820-1907), an English-born landscape painter, poet and taxidermist, is credited with being the first exponent of gum leaf painting in the Australian colonies. He first experimented with the medium as early as 1851-52, while in the Ovens District of northern Victoria. In 1869, a pair of his gum leaf paintings was exhibited in Melbourne at the Art and Art Treasures Exhibition, which would have brought the practice to widespread public attention. Indeed, it became a popular folk art medium that remained in vogue in the colonies up until the 1890s. The preponderance of subjects in known nineteenth-century examples – such as the one offered here – are bush scenes. (Later on, when Australian soldiers went to fight in the Middle East and Europe during World War One, there would be a huge revival in gum leaf painting: leaves decorated with motifs such as the kookaburra and kangaroo, along with patriotic messages, were a convenient and hugely popular type of memento from home that could be sent to loved-ones fighting overseas).
Two other examples of gum leaf paintings by S. Wadsworth – one a scene in the Blue Mountains, New South Wales and the other a Victorian landscape at dusk – are reproduced in Lindesay (ibid., pp. 98-99), who describes the gum leaf painting process thus: ‘The preparation for this socially fascinating pastime was simple indeed. When a suitably shaped living leaf was chosen – dead leaves were far too brittle – it was then left to dry, often pressed under a weight to prevent curling. It was then painted green all over, thus adding a fresh appearance and strength to the dry fibre. The decoration was finally added to the leaf in oil paint with a sable hair brush.’ (ibid. pp. 97 and 99).

Brown Patrick photographerview full entry

Reference: Trading to Extinction, by Patrick Brown (photographer), Ben Davies (Author). PatrIck Brown is the recipient of the 3P Photographer Award, World Press Award, Days Japan Award, Picture Of The Year Award, New York Photographic Book Award and NPPA’s Best of Photojournalism Award. His work has been exhibited at prestigious galleries and museums, including the International Center of Photography in New York, the Metropolitan Museum of Photography in Tokyo, and Visa pour l’Image in France. Patrick is represented by Panos Pictures and continues to cover social issues that are often forgotten by the mainstream media today.
Publishing details: Dewi Lewis, 2014,
Hardcover, ‏ 168 pages
Ref: 1000

Forthun Louise view full entry

Reference: Louis Forthun - Paintings and Sculpture, A survey of the work of Louise Forthun,
5 - 26 March, 2022, Charles Nodrum Gallery Catalogue.
Born in 1959 in Port Macquarie, where her mother had worked a dairy farm, Louise Forthun grew up in Newcastle where her father served in the merchant navy on the cargo ships and tankers moving in and out of the port to and from Indonesia, Singapore, Fiji and Papua New Guinea. Much time was spent on those docks, awaiting her father’s arrival, or departure, under the larger-than-life Newcastle BHP Steelworks; and she would later go on to work as a cabin girl with her father during her school holidays in the 1970s.

Since 1977 she has lived and worked in Melbourne. Enrolling first in Interior Design at RMIT, she transferred to Painting in 1979, graduating in 1981, and later completed a post-grad in painting at the Victorian College of Arts (1985-86). During this period Forthun set up a studio in Stalbridge Chambers, an 8-story building in Little Collins Street, and it was here that abstraction took root in her painting. In the middle of a forest of buildings with windowed facades, their form, pattern and geometry proved a rich source of visual interest, and she soon began to draw and photograph the surrounding buildings from different positions and angles. The 1980s saw a worldwide revival of neo-expressionism – predominantly figurative in subject and painterly in style – and, in Melbourne, centred around Roar Studios. In reaction to this (and with a touch of wry criticism) Forthun began a series of works using, as a base, thick Polyfilla smeared across plywood panels, which she then spray-painted through basic hand-made geometric cardboard stencils. From here would grow her St Kilda Road Series, one of which is shown in this exhibition (no. 2), inspired by an aerial photograph of St Kilda Rd spotted while paying her rent at the local real estate agent. These were followed by a suite of paintings, begun on a study trip to Europe, looking more closely at the structural detail of individual buildings, such as the underside of the Eiffel Tower (no. 1). These works formed Forthun’s first commercial solo exhibition at Tolarno Galleries in Melbourne.

Over the following decades, Forthun’s work would continue to move from sweeping aerial views of cities to specific sections of a construction on the ground; she would “zoom out” over Sydney, as in Swirl, 2008 then “zoom in” on the Story Bridge in Brisbane, as in The big deep blue, 2012 (nos. 7 & 13). The range of her stencils was stretched – some growing increasingly complex whilst others were simplified to the extreme. One can sometimes recognise the city buildings depicted: the pointed glass dome of Melbourne Central in Electrifying, 2010 (no. 8) for example, or the curved palisades and square piazzas of Rome in Crimson, 2003 (no. 4 - an image, incidentally, derived from a scale model of ancient Rome) while others, such as Pulsing, 2010 (no. 10), could be any and every city in the world. Not all were topographically accurate: if the large triptych Embossed, 2018 (no. 15) leaves you feeling a little lost it’s because this aerial panorama of Melbourne (looking west, and viewed from a commissioned plane) has its third panel reversed, upsetting our perspective and sending our city off kilter. Airy Stairs, 2018 (no. 14) and Wire Assemblage, 2018 (no. 17) derive from photos of the zinc factory on the Derwent River, taken on the ferry to MONA in Hobart.

The most recent works in this exhibition are paper and bronze – and make a clear break with the previous work. Forthun has worked on paper in the past, including the large-scale prints in the 1990s which evolved out of a trip to Japan to study their print-making and ceramic traditions. These recent paperworks also grew out of a trip to Japan in 2019 during which her focus had been on brush ink drawing, but the paper underwent a radical metamorphosis: it became sculptural. Scrunched up, released, and spray-painted – using mauve, lemon and bronze pigments (not colours we associate with either Forthun’s previous work, or with sculpture in general) dusting the paper peaks and drifting into the white valleys beyond. The question then became how to make these solid-looking but actually very fragile works into something more durable. Throughout the second Melbourne lockdown Forthun worked to achieve this, exploring and using a variation of the lost-wax casting method. This involves painting layers of melted wax all over the chosen paperwork, from which the foundry can make a mould, into which molten bronze is poured; in the process the paper is destroyed and the finished bronze sculpture becomes a unique work. Whilst these bronzes mark a clear departure from Forthun’s well recognised painting, they can also be seen as sharing some aspects of her early Polyfilla works of 35 years ago, and whilst the medium may be entirely new, the process of spray-painting and a return (again) to purer abstraction, links back to 1990s works such as Blue Room, 1996 (no. 3).

Charles & Kate Nodrum, 2022

Photography by Christian Capurro
Publishing details: Charles Nodrum Gallery, 2022. [Catalogue publication details to be entered]
Ref: 1000

Fischer Edward jewellerview full entry

Reference: from Australiana Society, Virtual Show and Tell Report, Number 15 - February 2022:
Edward Fischer, Geelong, kilt pin in the shape of a broad sword c 1884. Sterling silver, 11.8 cm long, 4 cm wide. The numerous Scottish migrants in Geelong brought many traditions with them. Scottish societies were established from the 1850s onwards, including Comunn na Feine, the Caledonian Society and the Highland Society. These groups supported the ill or widowed and held social gatherings, concerts and sporting meets. Men wore their kilts at these events, held in place by kilt pins like this.
Edward Fischer (1828–1911), son of a jeweller in Vienna, arrived in Victoria in the early 1850s,and had set up his business by 1857. His large output and skill ensured that he dominated the jewellery trade in Geelong, at first in Market Square in Moorabool St and later in Ryrie St.,
where he was last listed in 1891. He sold the Geelong business to his foreman Harry Page.
The firm carried on by his sons Harry Caspar and Edward Robert Fischer relocated to 190 Collins St, Melbourne, trading as E. Fischer and Son, Manufacturing Jewellers, Watchmakers and Opticians from 1895 to 1916. Fischer marked his work FISCHER or E. FISCHER, GEELONG.
Items made in Geelong were not always stamped with the Geelong punch. Fischer is best known for his series of gold cups for the Geelong Cup and the first locallymade Melbourne Cup (1865). He also received orders from interstate, NZ and Fiji.

A W Hansor Pty Ltdview full entry

Reference: from Australiana Society, Virtual Show and Tell Report, Number 15 - February 2022:
Pig Skin Wallet, Size: 15.4 x 18.5 cm (open)
This item illustrates what we can discover from simple objects.
A W Hansor Pty Ltd, leather manufacturer, was established in Meagher St Chippendale, Sydney in 1919. In 1932 the company pioneered the glove industry in Australia. Up until that time all gloves were imported. Initially it produced kid gloves, but for the war effort in 1941, they concentrated on the manufacture of industrial type gloves. A branch factory was opened in Wallsend in March 1946, for the manufacture of industrial gloves, some of which were for government contracts.
The Chippendale business moved to a new £12,000 factory in North Parramatta in July 1947, providing employment for local people. Initially they made kid gloves but planned to diversify into fancy leather goods such as wallets and pouches. The date of the wallet would therefore be post 1947. The owner of the business, Arthur William Hansor died on 18 February 1965 and the business continued after his death to at least the mid 1970s. Most of the factory workers were women who were sewing machinists.
Lionel Bloom was a colourful character in Sydney racing circles, described in the press of the day as a ‘dapper bookie boy’ and one of the Australian Jockey Club’s foremost paddock bookmakers. He left for England in March 1934 with his ‘Man Friday’ Frank Holmes having been offered a chance by the racing authorities to field during the coming season; he was guaranteed a stand in the Tattersall’s ring.
By August 1934 he was back in Sydney, at the Rosehill course, wearing in his buttonhole one of the largest and most beautiful carnations seen out that season. In 1937 he appears again in the press, the victim of a forged racing ticket. Sadly his son, also Lionel an RAAF solo training pilot died when his plane crash landed near Junee in April 1943. The last mention of Lionel was when he donated £100 to the Sydney Chevra Kadisha in Woollahra for their building fund. He died in Sydney in February 1957.
These two facts date the wallet 1947-1957.

Stokes & Sonsview full entry

Reference: from Australiana Society, Virtual Show and Tell Report, Number 15 - February 2022:
Bread Fork by Stokes & Sons. Size: 21 cm x 5.3 cm
A trident bread fork with a decorative handle with a ring enclosing a map of Tasmania atop a boomerang, the handle stamped MADE IN AUSTRALIA, EPNS, S & S and an ’S’ in a star over a boomerang. It was made by Stokes and Sons, a family company which was a Victorian institution from 1855– 2015. Ken Cavill wrote a comprehensive article, “The Silverware of Stokes and Sons” in Australiana May 1986.
Thomas William Stokes completed a five-year apprenticeship in Birmingham, UK before coming to Australia to seek gold. Failing to find gold, he set up business in central Melbourne in 1855 working as a die- sinker, making medals, buttons and silver goods. The company survived for 160 years despite fires and insolvency. Three generations of the family worked there across the years. The premises moved from central Melbourne to Brunswick and later to Ringwood. They made buttons for most uniforms: police, railway employees, government houses and the military forces including the Boer War and WW2. They made tokens which were the early unofficial currency due to a shortage of official currency before that was made illegal. They made medals and badges for ‘everything’ from the 1861 Burke and Wills expedition, the 1901 Federation of Australia as well as millions of Rising Sun badges for the forces, a silver wedding present for Princess Elizabeth and Phillip, and even the insignia for
the Boy Scouts. During WW2 they made eyepiece rims for gas masks and by 1950s were making electrical and automotive components. In the 1980s the firm employed nearly 800 people. Since then the badges and buttons business was sold and cheaper overseas manufacturing has seen the company’s local production decline.
Cavill lists Stokes’ marks but not with specific dates. A number of these forks have Australiana themes: kangaroos, kookaburra etc. Another Stokes fork with the map of Australia on its handle has the word Australia stamped across it; does the word obliterate the NT/SA border or does this one predate the 1911 separation of the territory? Some forks are advertised as toasting forks but they are far too short for this. Editor’s comment: Bread forks have three tines and a short to medium length handle, used to serve bread from a basket. Two styles of bread forks were made in the 1800s and early 1900s, one with flaring tines that resemble a trident as in this example, the second with straight tines like a small toasting fork. Bread forks were made in sterling silver or EPNS, the latter much cheaper. Cavill suggests that the mark on this fork was first used in 1911 and appears on much of the later EPNS work. I suggest this example is pre–WW1 when Tasmania was a popular tourist destination for mainland Australians.

Hansor A W Pty Ltdview full entry

Reference: from Australiana Society, Virtual Show and Tell Report, Number 15 - February 2022:
Pig Skin Wallet, Size: 15.4 x 18.5 cm (open)
This item illustrates what we can discover from simple objects.
A W Hansor Pty Ltd, leather manufacturer, was established in Meagher St Chippendale, Sydney in 1919. In 1932 the company pioneered the glove industry in Australia. Up until that time all gloves were imported. Initially it produced kid gloves, but for the war effort in 1941, they concentrated on the manufacture of industrial type gloves. A branch factory was opened in Wallsend in March 1946, for the manufacture of industrial gloves, some of which were for government contracts.
The Chippendale business moved to a new £12,000 factory in North Parramatta in July 1947, providing employment for local people. Initially they made kid gloves but planned to diversify into fancy leather goods such as wallets and pouches. The date of the wallet would therefore be post 1947. The owner of the business, Arthur William Hansor died on 18 February 1965 and the business continued after his death to at least the mid 1970s. Most of the factory workers were women who were sewing machinists.
Lionel Bloom was a colourful character in Sydney racing circles, described in the press of the day as a ‘dapper bookie boy’ and one of the Australian Jockey Club’s foremost paddock bookmakers. He left for England in March 1934 with his ‘Man Friday’ Frank Holmes having been offered a chance by the racing authorities to field during the coming season; he was guaranteed a stand in the Tattersall’s ring.
By August 1934 he was back in Sydney, at the Rosehill course, wearing in his buttonhole one of the largest and most beautiful carnations seen out that season. In 1937 he appears again in the press, the victim of a forged racing ticket. Sadly his son, also Lionel an RAAF solo training pilot died when his plane crash landed near Junee in April 1943. The last mention of Lionel was when he donated £100 to the Sydney Chevra Kadisha in Woollahra for their building fund. He died in Sydney in February 1957.
These two facts date the wallet 1947-1957.

Nicholson Tomview full entry

Reference: Tom Nicholson: Lines towards Another (edited with Helen Hughes. [’Lines towards Another is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance...’]
Publishing details: Sternberg Press 2018.
Ref: 1000

Plapp Jonview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Aberhart Laurenceview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Armstrong Johnview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Barda Wallyview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Bartley Johnview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Benham Malcolmview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Bettinson Ianview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Binns Vivienneview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Bleasel Nickview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Bramley-Moore Mostynview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Brewer Daveview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Byrne Samview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Clifford Jamesview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Crawford Rogerview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Danko Aleksview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Eager Helenview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Ferguson Vivienneview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Frost Joeview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Freeman Peterview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Gleeson Jamesview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Hanks Rewview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Hearse Catherineview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Jenyns Robertview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

King Bryanview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Lambert Ronview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Larter Patview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Larter Richardview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Legge Jasperview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Liiri Peterview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Macleod Euanview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

McRae Rodview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Morley Billview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

O’Connor Derekview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Mombassa Reg - O’Doherty Chrisview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

O’Doherty Chris - Reg Mombassaview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Parks Tiview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Pasfield Kevinview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Peart Johnview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Plate Carlview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Poulet Peterview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Proud Geoffreyview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Rankin Davidview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Richmond Oliffeview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Robertson Toniview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Salmon Evanview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Searle Kenview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Shaw Michael Allenview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Shunsen Katsukawaview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Smith Ericview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Varvaressos Vickiview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Waller Ruthview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Hasall Geoffrey p76view full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Watters Maxview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Williams Robertview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Yellow Houseview full entry

Reference: see Artworks from the Estate of Frank Watters, Shapiro auction, Sydney, 15 February, 2022. Includes over 50 short pieces of writing on the artists (and their works) that included in the sale. Includes 4 works by Frank Watters as well as 276 works collected by him.
Publishing details: Shapiro auction, Sydney, 15 February, 2022. 80pp, pb.

Making Good: Convict artisans in exile view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1. article by Anna Ridley on upcoming exhibition ‘Making Good: Convict artisans in exile’ at Old Governmnent House, Parramatta, March - November, 2022.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Convict artisans in exile view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1. article by Anna Ridley on upcoming exhibition ‘Making Good: Convict artisans in exile ‘ at Old Government House, Parramatta, March - November, 2022.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Making Good: Convict artisans in exile view full entry

Reference: exhibition ‘Making Good: Convict artisans in exile’ at Old Governmnent House, Parramatta, March - November, 2022, curated by Anna Ridley.
Publishing details: 2022, [publication details to be added]

Glover John and Claudeview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Glynnis Stevenson, ‘John Glover through the Claude Glass’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Duterrau Benjaminview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by David Hansen, ‘Jack and Achilles: a classical source for Benjamin Duterrau’s ‘Native Taking Kangaroo’.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

copying the mastersview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by David Hansen, ‘Jack and Achilles: a classical source for Benjamin Duterrau’s ‘Native Taking Kangaroo’, and his article ‘Teaching artists by copying the masters’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Rocke W H & Coview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Andrew Montana on ‘... identifying W. H. Rocke & Co’s second Melbourne International Exhibition 1880 drawing-room cabinet.’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

W H Rocke & Coview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Andrew Montana on ‘... identifying W. H. Rocke & Co’s second Melbourne International Exhibition 1880 drawing-room cabinet.’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Melbourne International Exhibition 1880 view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Andrew Montana on ‘... identifying W. H. Rocke & Co’s second Melbourne International Exhibition 1880 drawing-room cabinet.’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

International Exhibition Melbourne I 1880 view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Andrew Montana on ‘... identifying W. H. Rocke & Co’s second Melbourne International Exhibition 1880 drawing-room cabinet.’
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Rathjen Henning - Victorian art potter 1948-1968view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Anne Johnson and Anthony Armstrong: ‘Rathjen Henning - Victorian art potter 1948-1968’.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Fiveash Rosa 1854-1938 Quarantine Camp 1919view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Jo Vandepeer, ‘Rosa Fiveash’s Quarantine Camp 1919: a not so new normal.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Hambidge Helen 1857-1937view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Jo Vandepeer, ‘Rosa Fiveash’s Quarantine Camp 1919: a not so new normal.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Benham Ann Maria 1837-1914view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Jo Vandepeer, ‘Rosa Fiveash’s Quarantine Camp 1919: a not so new normal.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Good Gladys Kathleen 1890-1979view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., article by Jo Vandepeer, ‘Rosa Fiveash’s Quarantine Camp 1919: a not so new normal.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Changing Fortunes: History of China painting in South Australiaview full entry

Reference: Changing Fortunes: History of China painting in South Australia, by Avis Smith
Publishing details: thesis 2008
Ref: 1000

China painting in South Australiaview full entry

Reference: see Changing Fortunes: History of China painting in South Australia, by Avis Smith
Publishing details: thesis 2008

Kennedy Trevor as Australiana collector - obituaryview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., obituary by Lesley Garrett, Anne Schofield, John Hawkins.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Gumview full entry

Reference: Gum - the story of eucalypts and their champions, by Ashley Hay
Publishing details: New South, 2021, 320pp.
Ref: 1000

eucalyptsview full entry

Reference: see Gum - the story of eucalypts and their champions, by Ashley Hay
Publishing details: New South, 2021, 320pp.

Calvert Samuel 1828-1913view full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., Peter Walker Fine Art advertisment for an original printing block relating to ‘Travels with Dr Leichhardt in Australia’ published 1859
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Lamborn William and Leopold Wagnerview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., J. B. Hawkins Antiques advertisement on back cover for a gold ring.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Wagner Leopold and William Lambornview full entry

Reference: see Australiana magazine, February, 2022, vol 44, no. 1., J. B. Hawkins Antiques advertisement on back cover for a gold ring.
Publishing details: Australiana, February, 2022, vol 44, no. 1. 59pp.

Elischer Johan Wolfgang 1891-1966view full entry

Reference: see Hargesheimer Kunstauktionen fDuesseldorf, Germany, 116-IV: SCULPTURES | OLD MASTER PAINTINGS, Mar 12, 2022, lot 3359:
JOHAN WOLFGANG (JOHN W.) ELISCHER 1891 Vienna - 1966 Australia 'art critic' bronze, brown patina, black marble. Total H. 37 cm, H. 26.5 cm (figure). Inscribed 'Elischer' on the side of the plinth. Corresponding plinth with a full-length depiction of a man grimacing, holding a nude in his right hand, on a square base that is indented at the top. Part. min. range, base best.

Angas George Frenchview full entry

Reference: The Kafirs Illustrated, by George French Angas, Introduction by Frank Bradlow
Publishing details: Cape Town & Rotterdam: A A Balkema, 1974
FACSIMILE REPRINT OF 1849 EDITION, LIMITED 892 of 950, folio, [vi] + [6] + 133pp, 30 colour plates, full green faux leather,
Ref: 1000

Claxton Marshallview full entry

Reference: see MULLOCKS SPECIALIST AUCTIONEERS, UK, 23.2.22, lot 645:
India And Punjab - Sketches of Native Life in India and Sikh Horse, 1858 An original ILN wood engraving titled Sketches of Native Life in India 1858, from drawings from the sketch-book of Mr Marshall Claxton. The engraving depicts a Sikh Horse, a Calcutta Syce, a Native Woman from Upper India, Sepoy Encampment at Barrackpore, Hunting Leopard Bengal, and a Burmese Harp and Indian Flute. Engraved dimensions (approx): 36cm x 24cm.

Griffin Marion Mahony view full entry

Reference: see Morphy Auctions, June 9, 2021, Denver, PA, US, lot 2124: Lot 2124: AN IMPORTANT MARION MAHONY STAINED GLASS WINDOW (FRANK LLOYD WRIGHT STUDIO). An absolutely gorgeous, and important stained glass window by Marion Mahony Griffin (1871-1961). Marion Mahony worked for 15 years in the Frank Lloyd Wright studio, during which time she designed this, along with many other Prairie style windows. Recent study into Mahony has now credited her as the illustrator and draftsperson for more than half of the famed, Wasmuth Portfolio by Frank Lloyd Wright. This window was the focal point over the entrance of The Church of All Souls in Evanston, Illinois, built 1903. The window is clearly depicted in the book, Marion Mahony Reconsidered by David Vanten. In the book, the image of the window is credited to The Evanston Historical Society, picture #7517. The window depicts a stylized yellow sun eclipsing a frosted white moon, with green and red chevrons on either side. It contains approximately 277 pieces of glass, with lead and zinc came. It is encased in its original 2 oak frame. The glass itself was executed by either The Linden Art Glass Co. or Orlando Giannini, both Chicago studios. The window is in very good condition, with approximately 11 cracked or broken pieces, and a slight bowing due to shrinkage of the frame (the bow resolves when released from frame). Some cracking/splintering to original frame. Dimensions: 70 across base, 56 from peak of arch to base. This is not a standard shippable item and will require 3rd party shipping or pickup arrangements to be made. Condition: (Very Good). Dimensions: 70" x 52".
CORRECTION: "Marion Mahony Reconsidered" by David Van Zanten.
Est: $20,000 - $35,000
Sold: $77,500

Griffin Marion Mahony view full entry

Reference: see Sydney Living Museums website: MARION MAHONY GRIFFIN PRESENTATION SILK - This architectural presentation drawing depicts the combined site plan, street elevations, and sections of two dwellings built in the Sydney suburb of Castlecrag in the 1920s. The dwellings, known as GSDA no 1 & 2, were designed by Walter Burley Griffin (1876-1937) and delineated by his wife, Chicago born architect and artist Marion Mahony Griffin (1871-1961).
Marion Mahoney graduated from the Massachusetts Institute of Technology in 1894 and from her early professional career, developed a distinctive method for rendering architectural and landscape designs. Marion merged industry pen and wash practices with the Japanese technique of painting on silk with inks and dyes, and used the panel format to give a Japanese style perspective to building and planting schemes.
At the studio of architect and Prairie School leader, Frank Lloyd Wright (1867-1959), Marion first collaborated with future husband Walter Burley Griffin. Her watercolour perspectives were instrumental in Walter’s success in the international competition for the design of Canberra and in 1914 the couple moved to Australia. They later formed the Greater Sydney Development Association (GSDA) and created the harbour-front residential enclave of Castlecrag. The dwellings presented in this panel feature the horizontal lines, simplicity, craftsmanship, solid construction and integration with the natural landscape that characterised the Prairie style.
Publishing details: https://sydneylivingmuseums.com.au/exhibitions/marion-mahony-griffin-presentation-silk

Griffin Marion Mahony view full entry

Reference: Marion Mahony Reconsidered, Edited by David Van Zanten. ‘Marion Mahony Griffin (1871–1961) was an American architect and artist, one of the first licensed female architects in the world, designer for Frank Lloyd Wright’s Chicago studio, and an original member of the Prairie School of architecture. Largely heralded for her exquisite presentation drawings for both Wright and her husband, Walter Burley Griffin, Mahony was an adventurous designer in her own right, whose independent and highly original work attracted attention at a moment when architectural drawing and graphic illustration were becoming integral to the design process.
This book examines new research into Mahony’s life and paints a vivid portrait of a woman’s place among the lives and productions of some of our most noted American architects. The essays included take us on an ambitious journey from Mahony’s origins in the Chicago suburbs, through her years as Wright’s right-hand woman and her bohemian life with her husband in Australia—whose new capital city, Canberra, she helped to plan—up until her golden years in the middle of the twentieth century. Filled with richly detailed analyses of Mahony’s works and including and populated by an international cast of characters, Marion Mahony Reconsidered greatly expands our knowledge of this talented, complex, and enigmatic modern architect.’
Publishing details: The University of Chicago Press, 2011, 192 pages | 4 color plates, 65 halftones
Ref: 1009

artresearch.com.au

The Scheding Index of Australian Art & Artists

Browse