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

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

Campbell Cressidaview full entry

Reference: Philip Bacon gallery catalogue. Essay by Edmund Capon, late Director of the Art Gallery of New South Wales, catalogue of 32 works, price list, exhibition 1st November – 26th November 2005.
Publishing details: Philip Bacon Galleries, 2005. Quarto, lettered wrappers in illustrated dustjacket, pp. 20,
Ref: 1000

Campbell Cressidaview full entry

Reference: Cressida Campbell. Sydney, 12 – 28 October 2017, exhibition catalogue.
Publishing details: Brisbane : Philip Bacon Galleries, 2005. Quarto, trifold brochure, pp. [6[, illustrated, price list of 19 works,
Ref: 1000

Ngurra Kuju Walyja - One Country One People view full entry

Reference: Ngurra Kuju Walyja – One Country, One People : Stories from the Canning Stock Route. [’An extraordinary volume, documenting the relationships between art, people and country from an indigenous and European perspective along the epic Canning Stock Route in Western Australia.
‘During five years of extensive research FORMs Canning Stock Route Project has derived an extraordinary body of cultural and historical knowledge through a unique collaboration with Aboriginal artists and contributions from ten remote community arts and cultural organisations spanning the Western Desert. This book diversely articulated, dynamic with Indigenous voices, scholarly, insightful, visually breathtaking and comprised entirely of previously unpublished material will be richly rewarding for all who wish to deepen their knowledge of the Country and its people.’ – the publisher.’]
Publishing details: Macmillan Art Publishing, 2011. Quarto, boards in dustjacket, pp. 400, illustrated.
Ref: 1000

Aboriginal artview full entry

Reference: see Ngurra Kuju Walyja – One Country, One People : Stories from the Canning Stock Route. [’An extraordinary volume, documenting the relationships between art, people and country from an indigenous and European perspective along the epic Canning Stock Route in Western Australia.
‘During five years of extensive research FORMs Canning Stock Route Project has derived an extraordinary body of cultural and historical knowledge through a unique collaboration with Aboriginal artists and contributions from ten remote community arts and cultural organisations spanning the Western Desert. This book diversely articulated, dynamic with Indigenous voices, scholarly, insightful, visually breathtaking and comprised entirely of previously unpublished material will be richly rewarding for all who wish to deepen their knowledge of the Country and its people.’ – the publisher.’]
Publishing details: Macmillan Art Publishing, 2011. Quarto, boards in dustjacket, pp. 400, illustrated.

whispering gallery Theview full entry

Reference: The whispering gallery : art into poetry, By Peter Steele ; with a foreword by Gerard Vaughan. Contains 55 poems, inspired by art works in the collection of the National Gallery of Victoria, illustrated alongside. Inspiration is drawn from the works of John Brack, Sidney Nolan, Leonard French, Inge King, Charles Blackman, Arthur Boyd, Gwyn Hanssen Pigott, Grace Cossington Smith, Fred Williams, George Lambert, Adrian Feint and other Australian artists, as well as the works of Nicolas Poussin, Canaletto, Lucas Cranach, Bernini, Piranesi, William Blake one other masters.

Publishing details: Melbourne : Macmillan, 2006.Quarto, silver lettered boards in dustjacket, pp. 128, illustrated. New copy of an out of print title.
Ref: 1000

National Gallery of Victoriaview full entry

Reference: see The whispering gallery : art into poetry, By Peter Steele ; with a foreword by Gerard Vaughan. Contains 55 poems, inspired by art works in the collection of the National Gallery of Victoria, illustrated alongside. Inspiration is drawn from the works of John Brack, Sidney Nolan, Leonard French, Inge King, Charles Blackman, Arthur Boyd, Gwyn Hanssen Pigott, Grace Cossington Smith, Fred Williams, George Lambert, Adrian Feint and other Australian artists, as well as the works of Nicolas Poussin, Canaletto, Lucas Cranach, Bernini, Piranesi, William Blake one other masters.

Publishing details: Melbourne : Macmillan, 2006.Quarto, silver lettered boards in dustjacket, pp. 128, illustrated. New copy of an out of print title.

poetry and artview full entry

Reference: see The whispering gallery : art into poetry, By Peter Steele ; with a foreword by Gerard Vaughan. Contains 55 poems, inspired by art works in the collection of the National Gallery of Victoria, illustrated alongside. Inspiration is drawn from the works of John Brack, Sidney Nolan, Leonard French, Inge King, Charles Blackman, Arthur Boyd, Gwyn Hanssen Pigott, Grace Cossington Smith, Fred Williams, George Lambert, Adrian Feint and other Australian artists, as well as the works of Nicolas Poussin, Canaletto, Lucas Cranach, Bernini, Piranesi, William Blake one other masters.

Publishing details: Melbourne : Macmillan, 2006.Quarto, silver lettered boards in dustjacket, pp. 128, illustrated. New copy of an out of print title.

Aboriginal artview full entry

Reference: see Dreaming their way. Australian Aboriginal women painters. Includes work from Central Australia, Arnhem Land, Kimberley and Northwest and Southwest regions.
Publishing details: Washington : National Museum of Women in the Arts, 2006. Quarto, illustrated wrappers, pp. 160, illustrated.

Yandell Christianview full entry

Reference: Australian Fairy Tales. With illustrations by Christian Yandell. colour and black and white plates by Christian Yandell (later Waller). (Australian art nouveau publication).

Publishing details: Melbourne : J. Howlett-Ross, 1925. Quarto, decorated cloth, illustrated dustjacket 140 pp., tipped-in colour frontispiece,
Ref: 1000

Waller Christian see Yandellview full entry

Reference: Australian Fairy Tales. With illustrations by Christian Yandell. colour and black and white plates by Christian Yandell (later Waller). (Australian art nouveau publication).

Publishing details: Melbourne : J. Howlett-Ross, 1925. Quarto, decorated cloth, illustrated dustjacket 140 pp., tipped-in colour frontispiece,

Women’s work : Aboriginal women’s artefacts in the Museum of Victoriaview full entry

Reference: Women’s work : Aboriginal women’s artefacts in the Museum of Victoria. By Lindy Allen.
Survey covers material culture from all regions of Australia: domestic technology; fibrecraft; dress and ornamentation; carving; clay and ceramics; painting; children’s toys; batik and textiles; prints and posters.

Publishing details: Melbourne : Museum of Victoria, 1992. Quarto (295 x 210 mm), pictorial wrappers, 72 pp, colour photographic illustrations and b/w historical photographs; endpapers.
Ref: 1000

Aboriginal art - women’s artefacts view full entry

Reference: see Women’s work : Aboriginal women’s artefacts in the Museum of Victoria. but a fine copy.
Survey covers material culture from all regions of Australia: domestic technology; fibrecraft; dress and ornamentation; carving; clay and ceramics; painting; children’s toys; batik and textiles; prints and posters.

Publishing details: Melbourne : Museum of Victoria, 1992. Quarto (295 x 210 mm), pictorial wrappers, 72 pp, colour photographic illustrations and b/w historical photographs; endpapers.

Dwyer John Joseph view full entry

Reference: An everyday transience : the urban imaginary of goldfields photographer John Joseph Dwyer. Edited by Philip Goldswain & William Taylor. Crawley,
[’‘Revisit Australia’s Goldfields during the late 19th and early 20th century with the photographs of John Joseph Dwyer. Based in Kalgoorlie, Dwyer captured the development of the Goldfields. His outstanding images comprised street and industrial photography as well as underground and night-time photography, taking advantage of recent innovations in artificial lighting. Dwyers work reflected approaches and viewpoints from across the globe, the developments and innovations in photography of that time and the amazing changes that Kalgoorlie experienced at the turn of the 20th century.’ – the publisher.]

Publishing details: W.A. : UWA Publishing, 2010. Oblong folio, illustrated boards, pp. 203, illustrated,
Ref: 1009

An everyday transience view full entry

Reference: see An everyday transience : the urban imaginary of goldfields photographer John Joseph Dwyer. [’
‘Revisit Australia’s Goldfields during the late 19th and early 20th century with the photographs of John Joseph Dwyer. Based in Kalgoorlie, Dwyer captured the development of the Goldfields. His outstanding images comprised street and industrial photography as well as underground and night-time photography, taking advantage of recent innovations in artificial lighting. Dwyers work reflected approaches and viewpoints from across the globe, the developments and innovations in photography of that time and the amazing changes that Kalgoorlie experienced at the turn of the 20th century.’ – the publisher.]

Publishing details: Edited by Philip Goldswain & William Taylor. Crawley, W.A. : UWA Publishing, 2010. Oblong folio, illustrated boards, pp. 203, illustrated,

photographyview full entry

Reference: see An everyday transience : the urban imaginary of goldfields photographer John Joseph Dwyer. [’
‘Revisit Australia’s Goldfields during the late 19th and early 20th century with the photographs of John Joseph Dwyer. Based in Kalgoorlie, Dwyer captured the development of the Goldfields. His outstanding images comprised street and industrial photography as well as underground and night-time photography, taking advantage of recent innovations in artificial lighting. Dwyers work reflected approaches and viewpoints from across the globe, the developments and innovations in photography of that time and the amazing changes that Kalgoorlie experienced at the turn of the 20th century.’ – the publisher.]

Publishing details: Edited by Philip Goldswain & William Taylor. Crawley, W.A. : UWA Publishing, 2010. Oblong folio, illustrated boards, pp. 203, illustrated,

Hicks Petrinaview full entry

Reference: Petrina Hicks: Bleached Gothic, by HICKS, Petrina; CROMBIE, Isobel; QUIRK, Maria.
Petrina Hicks: Bleached Gothic is the first in-depth study of the work of Australian artist Petrina Hicks. Since 2003, Hicks has developed a highly distinctive body of work that combines her background as a commercial photographer with her interest in art-historical, mythological and symbolic subject matter. This book explores the key themes of Hicks’s oeuvre through illuminating essays, accompanied by high-quality reproductions of the artist’s work.Threaded throughout the photographic plates are extracts of poetry by Sylvia Plath. The juxtaposition of Plath’s poetry with the plates highlights the poetic impulse of Hicks’s work, which, like Plath’s words, is undercut by a sense of strangeness and danger. Hicks’s ambiguous and allegorical photographs invite the viewer’s imagination to wander, and encourage them to make their own meaning.
Catalogue of solo exhibition held at NGV from 27 Sep 2019 – 29 Mar 2020.
An important monograph on the Australian photographer, sold out within a few weeks of the launch.

Publishing details: Melbourne : National Gallery of Victoria, 2019. Quarto, boards in dustjacket, pp. 144, illustrated.
Ref: 1000

Mirror with a Memoryview full entry

Reference: Mirror with a Memory, by Helen Ennis et al. Includes works by Carol Jerrems, Fiona Foley, Thomas Bock, Harold Cazneaux, Thomas Glaister, David Moore, Albert Tucker, Max Dupain, Athol Shmith, Olive Cotton, Ex de Medici, Gordon Bennett, Fiona Hall and others.

Publishing details: Canberra : National Portrait Gallery, c2000. Quarto, illustrated wrappers, pp. 84, illustrated.
Ref: 1009

photographyview full entry

Reference: see Mirror with a Memory, by Helen Ennis et al. Includes works by Carol Jerrems, Fiona Foley, Thomas Bock, Harold Cazneaux, Thomas Glaister, David Moore, Albert Tucker, Max Dupain, Athol Shmith, Olive Cotton, Ex de Medici, Gordon Bennett, Fiona Hall and others.

Publishing details: Canberra : National Portrait Gallery, c2000. Quarto, illustrated wrappers, pp. 84, illustrated.

Whitefella Dreamingview full entry

Reference: see Whitefella Dreaming : the authorised biography of William Ricketts

Publishing details: Octavo, boards in dustjacket, pp. 304, illustrated. Printed in an edition of 2000 copies.

Twenty contemporary Western Australian Paintersview full entry

Reference: Twenty contemporary Western Australian Painters.Artists include Tom Albets, Brian Blanchflower, Su Baker, Mary Moore et al. [to be indexed]
The book surveys the exciting breadth of experimentation and approach that Western Australian painters have adopted. It records the incredible diversity and range of approach evident in the work of artists whose age and experience match the scope of their ambitions as artists. It does not ignore the more established artists nor does it overlook the younger generation, in fact the selected artists age and exhibition history covers the gamut between recent graduates and living treasures.

Publishing details: Western Australian Art No. 1. Perth : Visual Culture Research Unit, Curtin University of Technology, 1991. Quarto, boards in dustjacket, pp. 104, illustrated.
Ref: 1000

Reversalsview full entry

Reference: see Reversals - Philip Guston - Tony Tuckson, curated by Tony Oliver
Publishing details: IDG, 1994, 64pp

Transit narrativesview full entry

Reference: Transit narratives - Mostyn Bramley-Moore; Jon Cattapan

Publishing details: Brisbane: Queensland College of Art, Griffith University, 2002. First Edition.
27cm x 21cm. 68 pages, colour illustrations. Illustrated wrappers.

Ref: 1000

Bramley-Moore Mostyn view full entry

Reference: see Transit narratives - Mostyn Bramley-Moore; Jon Cattapan

Publishing details: Brisbane: Queensland College of Art, Griffith University, 2002. First Edition.
27cm x 21cm. 68 pages, colour illustrations. Illustrated wrappers.

Cattapan Jon view full entry

Reference: see Transit narratives - Mostyn Bramley-Moore; Jon Cattapan

Publishing details: Brisbane: Queensland College of Art, Griffith University, 2002. First Edition.
27cm x 21cm. 68 pages, colour illustrations. Illustrated wrappers.

Queensland House Theview full entry

Reference: THE QUEENSLAND HOUSE: A ROOF OVER OUR HEADS by Rod Fisher; Brian Crozier.
A collection of eight essays on historical and practical aspects of the Queensland house.

Publishing details: Brisbane: Queensland Museum, 1994.
First Edition.
27cm x 21cm. x, 134 pages, black and white illustrations, photographs, some in colour. Illustrated french fold wrappers.
Ref: 1000

architecture Queenslandview full entry

Reference: Brisbane: Queensland Museum, 1994.
First Edition.
27cm x 21cm. x, 134 pages, black and white illustrations, photographs, some in colour. Illustrated french fold wrappers.THE QUEENSLAND HOUSE: A ROOF OVER OUR HEADS by Rod Fisher; Brian Crozier.
A collection of eight essays on historical and practical aspects of the Queensland house.

Publishing details: Brisbane: Queensland Museum, 1994.
First Edition.
27cm x 21cm. x, 134 pages, black and white illustrations, photographs, some in colour. Illustrated french fold wrappers.

Austin Lincolnview full entry

Reference: THE SPACE BETWEEN US
Lincoln Austin

Publishing details: Ipswich: Ipswich Art Gallery, 2021.
First Edition.
25cm x 19cm. 104 pages, colour illustrations. Illustrated french fold wrappers.

Ref: 1000

Smith Ianview full entry

Reference: PAINTINGS: THE BEENLEIGH LINE
Ian Smith.
Exhibition of paintings by Queensland artist, Ian Smith, based on the Beenleigh railway line, Brisbane and Logan.
Publishing details: Logan: Logan Art Gallery, 2020.
First Edition.
21cm x 14.5cm. 20 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

Smith Ianview full entry

Reference: BEST OF WORKS ON PAPER
Ian Smith
Exhibition of paintings and drawings by Queensland artist, Ian Smith.

Publishing details:
Brisbane: Woolloongabba Art Gallery, 2018.
First Edition.
21cm x 14.5cm. 44 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

Smith Ianview full entry

Reference: BIG PAINTINGS SMALL PAINTINGS
Ian Smith

Exhibition of paintings by Queensland artist, Ian Smith.
Publishing details: Brisbane: Woolloongabba Art Gallery, 2019.
First Edition.
14.5cm x 21cm. 40 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

Nolan Sidneyview full entry

Reference: see The Conversation, On Sidney Nolan, the painter who re-envisaged the Australian landscape. Published: February 24, 2022. Review: Sidney Nolan: Search for Paradise, Heide Museum of Modern Art, by Julie Shiels, Lecturer - School of Art, RMIT University

Nolan Sidneyview full entry

Reference: Sidney Nolan: Search for Paradise,
Publishing details: Heide Museum of Modern Art, 2022 [publication details to be entered]
Ref: 1000

James Louisview full entry

Reference: see Blondes Fine Art website (UK)
Louis James was an accomplished Australian artist who was most notably influenced by his great friend Alan Reynolds , with whom he painted during the 1950's when he resided in Hampstead, London , England.

Louis James was born in Adelaide, Australia, in 1920 and first worked as a draughtsman in the Lands and Survey Department in Adelaide. He was called up at the outbreak of the Second World War and served for the duration in the 2nd Australian Imperial Force. He served in England, the Middle East, the Siege of Tobruk, Palestine and Syria. He then returned to Australia and New Guinea, where he suffered severe malaria, causing him to spend time in various hospitals.

After the war James married and returned to the Department of Lands and Survey. He joined the Royal South Australia Society of Artists and enjoyed considerable success and held his first solo exhibition three years later at the John Martin’s Gallery, Adelaide. He then moved to London during this time he joined Artist International Association with whom he exhibited along with London Group while also worked as a draftsman at the Geological Museum, South Kensington. He travelled to the Dordogne region of France, and worked with other painters, including Alan Reynolds. In 1960 he established a business restoring antique furniture, gilding and framing and from 1963 he taught part time at the Shoreditch Technical College, drawing and the history of furniture and textiles. Please visit our blog here at Blondes Fine Art for more details about this wonderful artist.

Louis James returned to Australia in 1965 and was employed as a tutor at the University of New South Wales in drawing in the Architecture faculty.

In England he showed in the 1950s and 1960s in the Redfern Gallery, also at Stone Gallery in Newcastle upon Tyne. He had a retrospective show at Bonythou-Meadmore Gallery, Adelaide in 1986.During his career he held no less that forty- eight solo exhibitions, and took part in almost forty group exhibitions. He was awarded many prizes, including the Life Prize of the Royal South Australian Society of Artists, the Sulman Prize twice and the Newcastle Gallery Prize.

Today Louis James work are held by many galleries in the UK, including the Tate, which has a self-portrait, and two Oxford Colleges, and practically all of the major art galleries and educational establishments of Australia.
Publishing details: https://www.blondesfineart.com/louis-james-artist

Australia in Oxfordview full entry

Reference: Australia in Oxford by MORPHY, Howard and Elizabeth EDWARDS (editors)

illustrating Australian Indigenous material culture from all parts of the continent, 19th-century photographs of Indigenous Australians, natural history
Publishing details: Oxford, Pitt Rivers Museum, 1988. Series: Pitt Rivers Museum, University of Oxford, Monograph 4. Small quarto (245 x 190 mm, pictorial stiff wrappers, lightly stained lower wrapper, endpaper map, 96 pp, with colour and b/w plates throughout
Ref: 1000

Aboriginal artview full entry

Reference: Australia in Oxford by MORPHY, Howard and Elizabeth EDWARDS (editors)

illustrating Australian Indigenous material culture from all parts of the continent, 19th-century photographs of Indigenous Australians, natural history
Publishing details: Oxford, Pitt Rivers Museum, 1988. Series: Pitt Rivers Museum, University of Oxford, Monograph 4. Small quarto (245 x 190 mm, pictorial stiff wrappers, lightly stained lower wrapper, endpaper map, 96 pp, with colour and b/w plates throughout

Phoenix Frances - Buddenview full entry

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

Whitesides Veraview full entry

Reference: see Gowan’s auction, Hobart, ONLINE PRIVATE ART COLLECTION, ANTIQUES & COLLECTABLES AUCTIONS, 7 March, 2022, nine lots including:
VERA WHITESIDES (1886 - 1941) UNSIGNED WATERCOLOUR - YOUNG MAN IN A SUIT - SHE WAS THE BEST TASMANIAN PORTRAITIST OF HER TIME NOT PROLIFIC & LITTLE OF HER WORK IS READILY AVAILABLE. TMAG HOLD EXAMPLES OF HER WORK. THE 9 ITEMS BY HER IN THIS AUCTION ALL DERIVE FROM FAMILY HOLDINGS. 20CM (H) X 15.5CM (W)

Brooker Eileenview full entry

Reference: see Gowan’s auction, Hobart, ONLINE PRIVATE ART COLLECTION, ANTIQUES & COLLECTABLES AUCTIONS, 7 March, 2022, lot 39: EILEEN BROOKER (BORN 1922) - UNSIGNED - CRAYON ON GREY PAPER - PORTRAIT OF DOROTHY BRADFORD (BORN 1920) - 44CM (H) X 39CM (W) - GILT FRAMED PROBABLY THE WORK EXHIBITED OCTOBER 1949 AS `MISS DOROTHY BRADFORD FIRST TASMANIAN TRAVELLING ART SCHOLARSHIP WINNER' 25 GNS.

BRADFORD DOROTHY view full entry

Reference: see Gowan’s auction, Hobart, ONLINE PRIVATE ART COLLECTION, ANTIQUES & COLLECTABLES AUCTIONS, 7 March, 2022, lot 39: EILEEN BROOKER (BORN 1922) - UNSIGNED - CRAYON ON GREY PAPER - PORTRAIT OF DOROTHY BRADFORD (BORN 1920) - 44CM (H) X 39CM (W) - GILT FRAMED PROBABLY THE WORK EXHIBITED OCTOBER 1949 AS `MISS DOROTHY BRADFORD FIRST TASMANIAN TRAVELLING ART SCHOLARSHIP WINNER' 25 GNS.

VIMPANY VIOLET 1886 - 1979view full entry

Reference: see Gowan’s auction, Hobart, ONLINE PRIVATE ART COLLECTION, ANTIQUES & COLLECTABLES AUCTIONS, 7 March, 2022, lot 48: VIOLET VIMPANY (1886 - 1979) SIGNED OIL - OLD JETTY ROAD LEWISHAM - 23.5CM (H) X 20CM (W) VIOLET VIMPANY WAS A STALWART AT THE ART SOCIETY. HER WORK WAS SHOWN IN NEW YORK IN 1939.

BIRDS OF BRISBANE AND ENVIRONS view full entry

Reference: BIRDS OF BRISBANE AND ENVIRONS (QUEENSLAND MUSEUM BOOKLET NO. 5) by Donald P. Vernon. Illustrations by Mary E. McKenzie and Susan M. Hiley.
Publishing details: Brisbane: Queensland Museum, 1977.
Reprint.
24cm x 18cm. 130 pages, black and white illustrations.
Ref: 1000

McKenzie Mary E view full entry

Reference: see BIRDS OF BRISBANE AND ENVIRONS (QUEENSLAND MUSEUM BOOKLET NO. 5) by Donald P. Vernon. Illustrations by Mary E. McKenzie and Susan M. Hiley.
Publishing details: Brisbane: Queensland Museum, 1977.
Reprint.
24cm x 18cm. 130 pages, black and white illustrations.

Hiley Susan Mview full entry

Reference: see BIRDS OF BRISBANE AND ENVIRONS (QUEENSLAND MUSEUM BOOKLET NO. 5) by Donald P. Vernon. Illustrations by Mary E. McKenzie and Susan M. Hiley.
Publishing details: Brisbane: Queensland Museum, 1977.
Reprint.
24cm x 18cm. 130 pages, black and white illustrations.

Book illustrationview full entry

Reference: Book illustration. Exhibition covering the history of book illustration: October 14 to November 2, 1935. Catalogue . Public Library of New South Wales. The introduction states that the purpose of the exhibition was to show the varying fashions in book illustration from medieval manuscripts to the present day. Trove notes just the one copy. Australian artists to be indexed
Publishing details: Public Library of New South Wales, 1935, Foolscap size in wrappers. Inscribed to Miss Webber from Heather Sherril June 1935. (Sherril was one of the compilers). 65 pages printed one side of the paper only Two original photographs as a frontispiece.
Ref: 1000

Book illustrationview full entry

Reference: see Book illustration (title?). Exhibition covering the history of book illustration: October 14 to November 2, 1935. Catalogue . Public Library of New South Wales. The introduction states that the purpose of the exhibition was to show the varying fashions in book illustration from medieval manuscripts to the present day. Trove notes just the one copy.
Publishing details: Public Library of New South Wales, 1935, Foolscap size in wrappers. Inscribed to Miss Webber from Heather Sherril June 1935. (Sherril was one of the compilers). 65 pages printed one side of the paper only Two original photographs as a frontispiece.

illustrationview full entry

Reference: see Book illustration (title?). Exhibition covering the history of book illustration: October 14 to November 2, 1935. Catalogue . Public Library of New South Wales. The introduction states that the purpose of the exhibition was to show the varying fashions in book illustration from medieval manuscripts to the present day. Trove notes just the one copy.
Publishing details: Public Library of New South Wales, 1935, Foolscap size in wrappers. Inscribed to Miss Webber from Heather Sherril June 1935. (Sherril was one of the compilers). 65 pages printed one side of the paper only Two original photographs as a frontispiece.

McKenna Noelview full entry

Reference: Bicycle - A Poem by David Malouf with drawings by Noel McKenna.
Publishing details: Published by Thinking Fisherman Publications 1993. One of a limited edition of only 100 copies. Paperback in dustwrapper.
Ref: 1000

Mercier Emileview full entry

Reference: Bathing BR, A 12 page pamphlet put out by Rheem advertising their hot water service. Each page has a cartoon by Mercier accompanied by an amusing text. Trove notes just the one copy and that is held by The National Library of Australia
Publishing details: Rheem, nd, 12pp
Ref: 1000

O’Brien Justinview full entry

Reference: Justin O'Brien, catalogue of 18 works with prices,
Publishing details: The Painter's Gallery, 1986. Exhibition catalogue, single sheet, pp. [2], cover illustrations,
Ref: 1000

O’Brien Justinview full entry

Reference: Justin O'Brien - a birthday tribute
Publishing details: National Gallery of Victoria 1987. Quarto, exhibition catalogue, folded sheet, pp. [4], cover illustrations, essay by Kenneth Hood, catalogue,
Ref: 1000

Dingle Maxview full entry

Reference: Phaedra: Explorations In The Abstract. Exhibition catalogue. Artist Statement, Phaedra - A Myth. Artist's CV plus colour plates.
Publishing details: Published by Shoalhaven City Arts Centre 2011, 249pp. Colour illustrations. Staplebound wraps.
Ref: 1000

Hart Amanda Penroseview full entry

Reference: Manly: Somewhere On The Australian Coast. Exhibition catalogue. 25 reproductions & artist's biography.

Publishing details: Published by Manly Art Gallery & Museum NSW 2013, 29pp, colour illust, staplebound wraps
Ref: 1000

Fabian Erwinview full entry

Reference: Erwin Fabian: Recent Sculpture Celebrating The Artist's 100th Birthday. Exhibition catalogue. Works: Lost Days, Year, Shore, Foretold, Proverb, Dark Down, Cast, Largo, Tetrachord, Pilgrim & Erebus.
Publishing details: Published by Australian Galleries Melbourne 2015, colour illust, 8 page gatefold card.
Ref: 1000

Stephen Bush Janet Burchillview full entry

Reference: Stephen Bush Janet Burchill, by Peter Cripps. Exhibition catalogue includes interviews with the artists.
Publishing details: Published by The Lewers Beques & Penrith Regional Art Gallery 1988, 24pp, b&w illust, staplebound wraps,
Ref: 1000

Bush Stephen view full entry

Reference: see Stephen Bush Janet Burchill, by Peter Cripps. Exhibition catalogue includes interviews with the artists.
Publishing details: Published by The Lewers Beques & Penrith Regional Art Gallery 1988, 24pp, b&w illust, staplebound wraps,

Burchill Janet view full entry

Reference: see Stephen Bush Janet Burchill, by Peter Cripps. Exhibition catalogue includes interviews with the artists.
Publishing details: Published by The Lewers Beques & Penrith Regional Art Gallery 1988, 24pp, b&w illust, staplebound wraps,

Johns Kerryview full entry

Reference: Kerry Johns. Exhibition catalogue. 33 works listed with brief biography and artist's statement.
Publishing details: Published by Artpages ACT 2010, 32pp, colour illust, staplebound wraps
Ref: 1000

VietNam Voicesview full entry

Reference: VietNam Voices, by John Kirkman; Con Gouriotis, Published by The Casula Powerhouse Arts Centre Casula 1997. Exhibition Catalogue This book examines the Viet Nam War via the art and craft of Australian & Vietnamese War veterans and their families, anti-war protestors and contemporary artists.
Publishing details: 96pp, b/w & Colour Illusts New Soft Cover
Ref: 1000

Under The Sun view full entry

Reference: Under The Sun: Reimagining Max Dupain's Sunbaker by Claire Monneraye, (curator). Catalogue for an exhibition of artworks at the State Library Of NSW inspired by Dupain's iconic image. Artists: William Yang, Justene Williams, Angela Tiatia, Sara Oscar, Peta Ciancy. Nasim Nasr et al.
Publishing details: Published by Australian Centre For Photography 2017, 24pp,b&W and colour illust, staplebound wraps,
Ref: 1000

Dupain Max view full entry

Reference: see Under The Sun: Reimagining Max Dupain's Sunbaker by Claire Monneraye, (curator). Catalogue for an exhibition of artworks at the State Library Of NSW inspired by Dupain's iconic image. Artists: William Yang, Justene Williams, Angela Tiatia, Sara Oscar, Peta Ciancy. Nasim Nasr et al.
Publishing details: Published by Australian Centre For Photography 2017, 24pp,b&W and colour illust, staplebound wraps,

Lloyd Normanview full entry

Reference: Norman Lloyd: Another Life. by Margaret McBride& Norman Lloyd (artworks)
Publishing details: Printed for an exhibition at the Newcastle Region Art Gallery in 2011., gatefold card, b&w and colour illust,
Ref: 8

Husted Maryview full entry

Reference: Mary Husted: Palimpsest & Landscapes ANU Drill Hall Gallery 4 September- 5 October 1997. New Australian Images Through British Eyes. Exhibition catalogue. English born artist Mary Husted lived in Canberra for two years. These mixed media collages are her response to the Australian landscape.
Publishing details: Published by ANU Drill Hall Gallery Canberra 1997, 26pp, colour illust, softcover,
Ref: 1000

Stephens Mrs G M illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

Scott M (Montague?) illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

Stephen G M illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

Wise H illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

McCrae G G illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

Flynn J H illustration by 1872view full entry

Reference: see Punch Staff Papers: A Collection Of Tales, Sketches, &c., In Prose And Verse.
STAFF OF THE SYDNEY PUNCH. With Illustrations by Mrs. G. M. Stephens, and Messrs. M. Scott, G. M. Stephen, H. Wise, G. G. McCrae, and J. H. Flynn.
Publishing details: Gordon And Gotch, 1872., 8vo; pp. viii, 240; frontispiece, numerous plates; original red cloth, title and decoration in gilt on spine and front.

Charm Schoolview full entry

Reference: see The bulletin.Vol. 87 No. 4459 (14 Aug 1965) article by Daniel Thomas ‘Backward Glance at an Avant Garde’

Ambrosino Pinaview full entry

Reference: see DREWEATTS 1759, auction, UK, 15.3.2022, lot 182 and 183:
Pina Ambrosino
Off Her Tits
Watercolour on Paper
Signed on Verso
15 x 10cm (5¾ x 3¾ in.)

Pina Ambrosino
The Resting Place
Watercolour on Paper
Signed on Verso
15 x 10cm (5¾ x 3¾ in.)

About
By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students.
I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters.

I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work.
I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images.
The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other.
Education
Studied Bachelor of Fine Art

Select Exhibitions/Awards
June 24 2021- Solo Show at Lyons Gallery Sydney Australia
November 11 2021- Group Show at Lyons Gallery Sydney Australia
December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney

Gallery Representation
Unsigned

Statement about AOAP Submitted Artwork
The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity.
My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections.
Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.

Cotton Herbert W 1872-1931view full entry

Reference: see Davidson’s auction 23.6.2018, lot 244. COTTON, HERBERT W (1872-1931)
'The Ball of the Season.' Caricature group with key panel & names, 1905.
Print
43x63cm (main image)
Lot Number: 244Sale date: 24-Jun-18$80.00 - $150.00

in NLA:
Cotton, H. (Herbert Walter E.), 1872-1931 [Sydney : s.n., 1905]
1 print : lithograph ; sheet 50.8 x 76 cm.
Accompanied by a key, identifying 77 figures in fancy dress, including politicians, judges, newspaper editors, theatrical celebrities and artists. S6871; S6872; one copy of the key.

Also copy in SLNSW
The Ball of the Season, 1905 / Herbert Walter Cotton XV/127
1905 976972
1 print with separate key (4 copies) - 76 x 100 cm
The print is accompanied by a key identifying 77 figures in fancy dress including politicians, judges, religious leaders, newspaper editors, actors and artists.
Presented by the Royal Australian Historical Society, February 1972 Pic.Acc.2447

Littlejohn Vivienneview full entry

Reference: see Scheding Berry Fine Art stocklist at 2016: Vivienne Littlejohn
All that remains, 2000
Constructed woodcut relief
48 x 64 cm
signed with initials lower right
Australian Galleries label with stock number (26805) verso
Exhibited Australian Galleries, 2000.

‘Vivienne Littlejohn was born in Launceston, Tasmania. She studied at the Tasmanian School of Art in 1966, life drawing under Pam Hallandal at the Prahran Institute of Technology 1967-69 and painting at the Alexander Mackie College 1975-76. She has exhibited in solo and group exhibitions since 1982. She has visited Egypt on a number of occasions which is reflected in a number of her most recent woodcuts, as is the work of Japanese printmaker Munakata. Littlejohn began making woodcuts in 1978 and has taught printmaking at the National Art School, Sydney since 1986.’ From Hendrik Kolenberg and Anne Ryan, Australian prints from the Gallery's collection, Sydney, 1998, cat.no. 114.

Strizic Markview full entry

Reference: Mark Strizic - Online Exhibition, 6 - 14 March, 2022. A small group of photographs from a private collection.
Since resolving to make photography his profession in 1957, Mark Strizic has captured Melbourne’s burgeoning materialist modern world. In this presentation of works, taken between 1958 and 1967, Strizic directs his artistic attention to the more “lyrical aspects” of the city.[1] Specifically, the tensions between man-made structures and natural planes, old and new architecture, and modern and traditional modes of transport. These works encapsulate the fleeting moments and vanished places of our ever-evolving city.

Only after immigrating to Melbourne in 1950, from Zagreb, Croatia—where his family settled after fleeing Nazi Germany in 1934—did Mark’s curiosity with photography begin. Influenced by the abundance of natural light and space in his adopted city, Mark took to taking spur of the moment photos with his 35mm Diaxette camera, purchased from a chemist in Collins Street. The artist’s first official job was acquired through Leonard French, then exhibition officer at the National Gallery of Victoria. Strizic was asked to produce pictures that “reflect the themes of the famous painters exhibiting at the gallery.”[2] His long involvement with the National Gallery earned him a highly respected place of his own in the art life of Melbourne. From the late 1950s onwards, Mark maintained close ties with artists Lenton Parr, Karl Duldig, Noel Counihan, Fred Williams, Clifford Last, Inge King, and Norma Redpath (his photographic portraits of these artists are now in the permanent collection of the NGV.) Likewise, he became one of the favourite photographers of several modernist architects, including Robin Boyd and Roy Grounds.

From 1970 onwards, Mark contributed photographs to several books including, Melbourne: A Portrait (1960) with architect and historian David Saunders, Andrew Grimwade’s Historic Buildings of Victoria (1968), Living in Australia (1968), and Ken Scarlett’s The Sculpture of John Davis (1988). He has held several solo exhibitions, first of photographs from the 1960s and later in the 1980s of his optic painterly works. In 2003, Monash Gallery of Art curated an exhibition of his work, shown also at the National Portrait Gallery in 2004.

Passing in 2012 at the age of 84, Strizic’s photographs continue to speak to the artist’s selective eye, technical approach and his “intuition for the poetic aspects of image making.”[3]

By Rachel Weinberg

[1] Emma Matthews, Mark Strizic: a journey in photography, (Melbourne: Monash Gallery of Art), 2003, Exhibition catalogue.
[2] Dianna Snape and Mark Strizic, “Melbourne Mid Century,” Art and Architecture (July/ August 2006): 27.
[3] Matthews, Mark Strizic: a journey in photography.

Publishing details: Chares Nodrum Gallery, 2022. [Online exhibition. Printed catalogue information to be entered if available].
Ref: 1000

view full entry

Reference: see South Australian Australiana Society Study Group meets regularly to show and discuss various items of interest provided by members - meeting notes are circulated to all members (SA Report 74 - February 2022):

Ruwolt Charles (1873-1946) collectorview full entry

Reference: see Joels press release 7.3.22: In the upcoming Fine Art Auction, this March, we have the pleasure of welcoming back a valuable collection of paintings that once lived in the personal collection of prominent Melbourne businessman and engineering entrepreneur, Charles Ruwolt (1873-1946).
The Ruwolt name is one that many Melbournians will be familiar with. Charles Ernest Ruwolt was born in Germany in 1873, before migrating with his family to Australia in 1878. Charles spent his early years helping his parents on their wheat farm in Mount Gambier, South Australia. Finding joy in operating machines and working on the land as a young man, Charles took on an apprenticeship at James Martin & Co. machinery manufacturers. Studying engineering, he worked for the following decade in various foundries and manufacturers, slowly establishing himself in the industry.
Within 10 years of opening his own iron foundry in Wangaratta, Victoria, Charles quickly became the leading manufacturer in Australia for mining dredges. Before long, he was distributing his products locally and abroad including to Malaysia, Thailand, The Philippines, South Africa, and Papua New Guinea. Charles was also a senior figure in the wartime administration of home-front resources, so when the second World War began, Ruwolt started facilitating the production of field artillery, ammunition supply, light artillery, and trench mortars. By 1938, Ruwolt was the largest engineering company and producer of heavy industrial equipment in Australia, employing 600-700 workers at their Melbourne factory in the inner-city suburb of Richmond.
In one generation, Charles single-handedly created an industrial enterprise, making Ruwolt a household name and respected company country wide. He devoted his spare time to his family and tending to his private pastoral property in regional New South Wales. While he was a great lover of horses and held memberships to numerous exclusive racing clubs, he was also a passionate collector of Australian art.
This collection, formed by Charles and his wife Emily, was originally collected in the late 1920s and 30s and for many years hung at their property ‘Yarramundee’ in Mulwala, New South Wales. Following their passing, Leonard Joel held a landmark auction in 1966, “The Charles Ruwolt Collection of Australian Paintings”, encompassing much of their renowned art collection which shifted the market significantly for Australian Art at auction. Among the works offered in this sale were two major watercolours by Hans Heysen, which were reacquired by his children and have remained with the Ruwolt family ever since.
The River 1920 and Drover and Cattle 1917 were completed at a time when both Heysen and Ruwolt were at the height of their careers. Reflecting Ruwolt’s lifelong adoration for the Australian landscape, it is no coincidence that these works were highlights of the collection. Both men were German born with South Australian roots and shared a love of the land and art. Heysen had long been regarded as a major figure in Australian art and Ruwolt, who in a parallel world of machinery, was a major figure in the Australian engineering economy. Therefore, it is only fitting that these two greats of their respective industries aligned as artist and collector.
LUCY FOSTER / Fine Art Specialist

Samuels Gordon and Jackie collectionview full entry

Reference: It is a rare and happy occurrence to have the pleasure of not only working with beautiful pieces of art, furniture, and objects, but also to tell the story of two people who have played such significant roles – both individually and together – in the public and intellectual life of this country. In March 2022, Leonard Joel will offer The Gordon and Jackie Samuels Collection, including objects of both personal and artistic significance, most notably Jeffrey Smart’s E.U.R. II 1965.
The Hon. Gordon Samuels AC CVO QC (1923-2007) is perhaps most recognised for his time as the Governor of NSW from 1996-2001. However, his long and distinguished career began as a barrister, then a QC, from where he was appointed to the Supreme Court in 1972. In 1976, he became the longest-serving Chancellor of the University of NSW, holding that role for 18 years. Gordon Samuels and Jacqueline Kott (1927-2021) married in 1957. Jackie rose to prominence as an actor in radio, television, film, and particularly on the stage in the 1950s and 60s. Among other roles, she was renowned for her ground-breaking performance as Martha in Edward Albee’s Who’s Afraid of Virginia Woolf. Alongside her work as an actor, Jackie was a committed supporter of the Arts and helped establish the Australian National Playwrights’ Conference, served as an artist member of the Australian Council, was on the board of NIDA and a trustee of the Sydney Opera House.
Gordon and Jackie’s partnership was particularly evident during their time at the University of NSW where they were both committed to creating an environment of academic rigour alongside community engagement and belonging. This sense of community flowed through to their gubernatorial partnership where they chose, controversially, to reside in their house in Bronte instead of living at Government House. During these years they remained fixtures in the neighbourhood, passers-by greeting Gordon with “morning, Gov” and Jackie continuing to do the weekly shop at the Randwick Shopping Centre. As Jackie said, “I have always thought that if I had time and capacity then I should do some good. It sounds very dull and worthy but I think it’s natural.”
During their long marriage and life partnership, Gordon and Jackie amassed a number of artefacts of personal and artistic significance. There are those they inherited, for instance, the carpets from Jackie’s father Max Kott and the silverware from Gordon’s mother Zelda, and those they collected together. There were paintings they bought from galleries when on official visits or from friends, and of course, Gordon’s favourite Jeffrey Smart. He loved the painting’s enigmatic quality, and would say (with a wink), “When I came in this morning, they were only halfway up the steps. They’ve made good progress today.”
We look forward to presenting pieces from Gordon and Jackie’s collection within our Fine Art auction in Melbourne on 22 March 2022, and The Collector’s Auction in Sydney on 29 March 2022.
MADELEINE NORTON / Decorative Arts & Fine Art Specialist, Sydney
With special thanks to Selina Samuels
February 2022

Dudley Rodview full entry

Reference: Sculptures by Rod Dudley, text by Mungo MacCallum in Italian and English. Black and white images in the text. Exhibition from 28 April to 18 May 1983

Publishing details: Naviglio Gallery, 1983, Paperback, 3000 copies.
Ref: 1000

Women Paintersview full entry

Reference: see Clarence and Richmond Examiner (Grafton, NSW : 1889 - 1915), Tuesday 26 July, 1910. The first exhibition of the Society of Women Painters. Extensive review. See Trove

Society of Women Paintersview full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Cusack Aline vice president view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Scott Mrs view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Rodney Florence Miss or Rodawy (acting hon treasurer) view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Osbourne Steuart view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Edwell E Miss view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Docker Annis view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Owen Gladys view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Winckler Ruby view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Allen Miss view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Rodd Nell view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Chelmsford Lady President
view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Mills Louisa hon secretary view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Parsons Mrs view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Merton Missview full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Chauval Miss view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Williams Miss G
.view full entry

Reference: see The Sydney Morning Herald (NSW : 1842 - 1954) Wed 26 Oct 1910: SOCIETY OF WOMEN PAINTERS.
The Society of Women Painters held its
annual meeting last Friday afternoon at Miss Cusuck's studio. Among those present were Miss Aline Cusack (in the chair) Miss Florence Rodney (acting hon treasurer) Mrs
Steuart Osbourne, Mrs. Scott, Misses Edwell, Annis Docker, Williams, Gladys Owen, Ruby Winkler, Allen, Nell Rodd, etc. The necessity for a studio clubroom was strongly urged and also the necessity for a suitable room in which to hold the exhibitions of the society. The following are the office bearers for the coming year: -President Lady Chelmsford;
vice president Miss Aline Cusack; hon trea-
urer Miss Louisa Mills; hon secretary Miss
Annls Docker; council Mrs Parsons, Miss
Merton, Miss Chauval, Miss E. Edwell, Miss G.Williams   

Winckler Ruby view full entry

Reference: see Lawsons, lot 2005, Lawsons
April 22, 2021, Sydney, Australia: RUBY WINCKLER (1886 - 1974)
The Abbott Smells the Rose, 1908
oil on canvas on board
37.5 x 27.5 cm (frame: 58 x 48 x 4 cm)
signed and dated lower right

Winkler Rubyview full entry

Reference: see Winckler Ruby

Fragments from the futureview full entry

Reference: Fragments from the future : aspects of modernism from the Kerry Stokes collection. Curator, Kevin Robertson.
Artists exhibited: Ralph Balson, Aubery Beardsley, Yosl Bergner, Charles Blackman, Pierre Bonnard, Arthur Boyd, John Brack, Lina Bryans, Rupert Bunny, Marc Chagall, Roy de Maitre, Robert Dickerson, James Doolin, Russell Drysdale, Jean Dubuffet, Ian Fairweather, Adrien Feint, William Frater, Leonard French, Donald Friend, James Gleeson, Guy Grey-Smith, Weaver Hawkins, Joy Hester, Frank Hinder, David Hockney, Roger Kemp, Paul Klee, Richard Larter, Fernand Léger, Henri Matisse, Max Meldrum, Godfrey Miller, Kathleen O'Connor, Vic O'Connor, John Perceval, Pablo Picasso, Marget Preston, Paul Ranson, Howard Taylor, Henri de Toulouse-Lautrec, Tony Tuckson, Danila Vassilieff and Eric Wilson.

Publishing details: West Perth, W.A. : Australian Capital Equity, 2009
1 folded sheet (6 p.) : col. ill.
Ref: 1000

Kerry Stokes collectionview full entry

Reference: see Fragments from the future : aspects of modernism from the Kerry Stokes collection. Curator, Kevin Robertson.
Artists exhibited: Ralph Balson, Aubery Beardsley, Yosl Bergner, Charles Blackman, Pierre Bonnard, Arthur Boyd, John Brack, Lina Bryans, Rupert Bunny, Marc Chagall, Roy de Maitre, Robert Dickerson, James Doolin, Russell Drysdale, Jean Dubuffet, Ian Fairweather, Adrien Feint, William Frater, Leonard French, Donald Friend, James Gleeson, Guy Grey-Smith, Weaver Hawkins, Joy Hester, Frank Hinder, David Hockney, Roger Kemp, Paul Klee, Richard Larter, Fernand Léger, Henri Matisse, Max Meldrum, Godfrey Miller, Kathleen O'Connor, Vic O'Connor, John Perceval, Pablo Picasso, Marget Preston, Paul Ranson, Howard Taylor, Henri de Toulouse-Lautrec, Tony Tuckson, Danila Vassilieff and Eric Wilson.

Publishing details: West Perth, W.A. : Australian Capital Equity, 2009
1 folded sheet (6 p.) : col. ill.

Stokes collectionview full entry

Reference: see Fragments from the future : aspects of modernism from the Kerry Stokes collection. Curator, Kevin Robertson.
Artists exhibited: Ralph Balson, Aubery Beardsley, Yosl Bergner, Charles Blackman, Pierre Bonnard, Arthur Boyd, John Brack, Lina Bryans, Rupert Bunny, Marc Chagall, Roy de Maitre, Robert Dickerson, James Doolin, Russell Drysdale, Jean Dubuffet, Ian Fairweather, Adrien Feint, William Frater, Leonard French, Donald Friend, James Gleeson, Guy Grey-Smith, Weaver Hawkins, Joy Hester, Frank Hinder, David Hockney, Roger Kemp, Paul Klee, Richard Larter, Fernand Léger, Henri Matisse, Max Meldrum, Godfrey Miller, Kathleen O'Connor, Vic O'Connor, John Perceval, Pablo Picasso, Marget Preston, Paul Ranson, Howard Taylor, Henri de Toulouse-Lautrec, Tony Tuckson, Danila Vassilieff and Eric Wilson.

Publishing details: West Perth, W.A. : Australian Capital Equity, 2009
1 folded sheet (6 p.) : col. ill.

Before night - after nature view full entry

Reference: Before night - after nature : selected works from the Monash University collection : Julian Ashton, Ian Burn, Stephen Bush, Domenico De Clario, Francisco De Goya, Peter Graham, Louise Hearman, Philip Hunter, Peter Kennedy, Leah King-Smith, John Nixon/Mike Parr, David Noonan, Susan Norrie, Mike Parr, John Perceval, Bernhard Sachs, Simone Slee, Ricky Swallow / curator Geraldine Barlow
Publishing details: Clayton, Vic.Monash University Museum of Art, 2004, 1 v. (unpaged) : ill.
Ref: 1000

Monash University collection view full entry

Reference: see Before night - after nature : selected works from the Monash University collection : Julian Ashton, Ian Burn, Stephen Bush, Domenico De Clario, Francisco De Goya, Peter Graham, Louise Hearman, Philip Hunter, Peter Kennedy, Leah King-Smith, John Nixon/Mike Parr, David Noonan, Susan Norrie, Mike Parr, John Perceval, Bernhard Sachs, Simone Slee, Ricky Swallow / curator Geraldine Barlow
Publishing details: Clayton, Vic.Monash University Museum of Art, 2004, 1 v. (unpaged) : ill.

Moriarty Mervynview full entry

Reference: The Eye’s Mind - the artist and the craftsman, by Merv Moriaty. [’This book engages with the foundations of drauftsmanship as an essntial foundation for the artist to extend his perception of the visual structure that underlies everything. It allows the artist see the sustance of design and beauty.’]
Publishing details: Wallagoot, N.S.W. : Artist Education, 2009, xviii, 219 p. : ill. (some col.). First folio edition, with leather spine, is limited to 230 copies.

McGillick Tony 1941-1992view full entry

Reference: A Field Of Colour, Tony McGillick: A Retrospective 9 July - 10 September 2018. [’McGillick (1941-1992) was one of Australia's foremost abstract artists and this exhibition revealed his paintings shimmering textured layers'.’]
Publishing details: Macquarie University Art Gallery, Sydney 2018, 88pp, colour illusts, very good paperback & cover (ed of 400 copies)
Ref: 1000

Ideas and perceptions of the Australian landscapeview full entry

Reference: Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895
Ref: 1000

Hawthorn Billview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Baker Gregview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Betts Macview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Birch Robertview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Blumann Eliseview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Boissevain Williamview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Boyd Arthurview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Cartwright Arthurview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Constable Chrisview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Cook Phillipview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Drysdale Russellview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Durack Elizabethview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Farman Nolaview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Feeney Johnview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Grey-Smith Guyview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Haynes Georgeview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Hewitt Nigelview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Heysen Hansview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Huggins William Johnview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Juniper Robertview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Makin Jeffreyview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Long Sydneyview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

McCubbin Frederickview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Nolan Sidneyview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Pash Frankview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Perceval Johnview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Rees Lloydview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Roberts Tomview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Taylor Howardview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Vila-Bogdanich Memnunaview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

von Guerard Eugeneview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Williams Fredview full entry

Reference: see Ideas and perceptions of the Australian landscape, by Bill Hawthorn, 1987, includes essays on 31 artists, each essay analysing an artwork. A drawing of each work is included.
Publishing details: Edith Cowan University
Research Online ECU Publications Pre. 2011. This Book is posted at Research Online.
https://ro.ecu.edu.au/ecuworks/6895

Dearling Florence 1895-1988view full entry

Reference: see Joels auction, Thurs 10 March, 2022, 21 works by Florence Dearling, lots 4005-4021. ‘This week's Auction Salon presents the second installment of a collection of works by Australian artist Florence Dearling (1895-1988)...’

Arthur Tomview full entry

Reference: TOM ARTHUR - THE SCENE AND THE UNSEEN. ‘We cannot run from place to place without losing something, suddenly move all our goods from one place to another and change our work all in a moment just as we please. Nothing takes so long over its journey as the soul, and it is slowly, if it detaches itself, that it re-joins the body. Hence those who think themselves speedy are thrown into confusion, badly reassembled, since the soul, joining them little by little... is found by them to perform the same exercise in reverse. The same applies to the discomfort of passing from one work to another, since the finished work goes on living in us and only leaves a very confused place for the new work. It is important in regard to a journey, to wait for the body to reassemble itself and not to rely on an appearance in which only those who do not know us well can have faith. In regard to one’s work, it is important to wait after each one, and let the body free itself of the vapors which remain in it and which may take a long time to disperse.
From The Difficulty of Being by Jean Cocteau’
Publishing details: Defiance Gallery, 2022,
Ref: 1000

Brown Billview full entry

Reference: BILL BROWN - DRAWING IS THE BRIDGE. For Bill Brown making work is a process of discovery, the pursuit of the authentic mark and a struggle for truth. As a visual/spatial learner who was schooled in the value of drawing as a way to enrich ideas, it’s no surprise to learn that drawing remains the central element in Brown's research and generative strategies. Today drawing still is the bridge, that connects and ‘in-forms’ all of his visual art thinking.

Through his work, Brown exercises his love of transformational drawing, in particular ‘form and variation’ with the concept of change as the starting point. The work insists he stays focused on his responses as he develops the many options around a single theme. This process then enables him to take anything, even the remotest of mental abstractions into this way of lateral thinking. His favoured types of drawing are as a research facility that brings the ‘outer to the inner’ and as a process of moving an idea through this form and variation into deeper understanding.

Ever changing perspectives, reverie and a compounding way of seeing generates work, through drawing, that is imbued with a quality and character that is formed from within the moments of its own creation. Then it all comes down to pursuing a structural, compositional and psychological play of ‘call and answer’, into an existential and experiential game of ‘receptivity and response’.

"The meaning is in the making and always on the move" - Bill Brown

“To paint is to love again” - Henry Miller
Publishing details: Defiance Gallery, 2022,
Ref: 1000

Cawthorne W Aview full entry

Reference: THE KANGAROO ISLANDERS: A STORY OF SOUTH AUSTRALIA BEFORE COLONISATION 1823, by W. A. Cawthorne

Publishing details: Adelaide: Wakefield Press, 2020.
First Edition.
23.5cm x 15.5cm. xii, 283 pages, colour illustrations. Illustrated wrappers.
Ref: 1000

Artists of the Great Warview full entry

Reference: Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

War artistsview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Weston Harryview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Leist Fredview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Lindsay Lionelview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Streeton Arthurview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Dyson Will p6-8view full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Streeton Arthurview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Rae Isoview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Bunny Rupertview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Power John Wardellview full entry

Reference: see Artists of the Great War, by David Hansen. National Gallery of Australia exhibition catalogue. Works by about 30 Australian artists. Includes some bigraphical information within the essay. ["This exhibition presents artists’ perceptions of the Great War: the conflict as it was described in oil sketches and finished paintings, watercolours, drawings, prints, posters, books, magazines and a commemorative medal. ... Artists of the Great War is a collaboration between the National Gallery of Australia and the Australian National University [School of Art]. It has been curated by David Hansen, with contributions from students of the Centre for Art History and Art Theory. The display features generous loans from the Australian War Memorial and Royal Australasian College of Surgeons, alongside significant works from the NGA collection."]
Publishing details: National Gallery of Australia, Canberra, 2017, Pamphlet
15 p.;

Age of Macquarie Theview full entry

Reference: The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Macquarie Govview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Evans George Hobart c1819view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Lycett Joseph various illustrationsview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Taylor Major Jamesview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Campbell Sophiaview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Read Richard Snrview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Read Richard Jnrview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Uwins Thomas portrait of John Thomas Biggs 1819view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Lewin John Williamview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Greenway Francisview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Allen J lithograph by view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Arago Jacquesview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Browne Richardview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Slaeger Philipview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Eyre Johnview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Wallis Jamesview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

colonial furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

furniture in 1820sview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Webster John furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Temple William furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Rodius Charlesview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Oatley James view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Packer James furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Aldcock Henry furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Shaughnessy Thomas furnitureview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Josephson Jacob jewelleryview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Pritchard William silver view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Harley Walter silver view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Clayton Samuel silver view full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Mikhailov Pavel illustrationview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Gyfford Edward architectview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Kitchen Henry architectview full entry

Reference: see The Age of Macquarie / edited by James Broadbent and Joy Hughes. Illustrated. Includes some biographical information on the artists whose work is illustrated. Includes index. Bibliography: p. 185-188.
[From NLA catalogue: ‘p. 32-34 brief discussion of Aboriginal contacts with colonisers : employment supplying fish, washing spirit casks in return for alcohol; mention of Macquarie's paternalism : provison of farm for Bungaree at Middle Cove, land at Blacktown for Nurragingy and Colebee, school for Aboriginal children at Parramatta; disinterest of missionaries and colonial clergy in Aborigines; Increasing violence between settlers and Dharug, Dharawal and Gundangara; Macquaries's order to capture and kill Aborigines on settlers land during drought of 1816.’]

Publishing details: Carlton, Vic. : Melbourne University Press in association with Historic Houses Trust of New South Wales, 1992
xii, 194 p., [1] p. of plates : ill (some col.), facisms., maps, ports

Newton Helmut view full entry

Reference: see documentary: Helmut Newton: The Bad and the Beautiful, Director
Gero von Boehm,
‘Women were clearly at the core of legendary - if provocative - photographer Helmut Newton’s work. Born in Germany, his Jewish family was forced to flee the country in 1938 following the increasingly oppressive Nuremburg laws. Newton spent most of WWII in Australia, before marrying Melbourne-born actor and photographer June Browne and setting up a studio in Flinders Lane.
The stars of his iconic portraits and fashion editorials – from Catherine Deneuve to Grace Jones, Charlotte Rampling to Isabella Rossellini – finally give their own interpretation of his life and work. Titillating, unconventional, subversive, his depiction of women still sparks the question: were they subjects or objects? This humanising documentary is a wildly entertaining portrait of a controversial genius.’
Publishing details: Lupa Film, Monarda Arts (Co-production) 2020

Barratt Walter Aview full entry

Reference: See Davidsons auction, Estate & Collector incl. Art, Tribal, War Posters, 13.3.22. lot 62 62
BARRATT, Walter A
The 'Semantha' in Full Sail
Signed/inscribed 'Woolston & Barratt, Newcastle, NSW,' (referring to the Association of George Woolston, photographer, and Walter Barrett, artist). The four masted steel barque 'Semantha' was built in 1888 by W. Hamilton & Co. Glasgow, & registered in Liverpool (UK). It was sunk by the German vessel 'Kronprinz Wilhelm' in the Atlantic in February 1915.
Oil on Canvas
51x77cm

Jones Frederic Wood view full entry

Reference: The mammals of South Australia / by Frederic Wood Jones.
Handbook of the flora and fauna of South Australia.
Full contents • [pt.] 1. The monotremes and the carnivorous marsupials
• [pt.] 2. The bandicoots and the herbivorous marsupials
• [pt.] 3. The monodelphia.

Publishing details: Adelaide : Govt. Printer, 1923-1925
3 v. (458 p.) : ill.
Ref: 1000

Jones Frederic Wood view full entry

Reference: Design and purpose / by Frederic Wood Jones 1879-1954

Publishing details: London : Kegan Paul, 1942
Ref: 1000

Gardner John Aview full entry

Reference: A vagabond and his easel : a biography of John Gardner / by Kaye Dowdy.
Biography of Australian artist, John Gardner, who travelled extensively in central Australia ; includes time spent at Alice Springs, the Hermannsburg Mission and acquaintance with Pastor Albrecht, Albert Namatjira and the Aranda people.
Includes index.
Bibliography. p. 134.
Publishing details: Warrnambool, Vic. : Kepler, c1984
viii, 136 p., a-d p. of col. plates : ill. (some col.), 2 maps, 2 ports.
Ref: 1000

Cooper Jamieview full entry

Reference: see Sydney Morning Heral, 12.3.22, p20 artcle on the artist planning to produce a tribute to Shane Warne following the cricketer’s death.

Ottley Mattview full entry

Reference: see The Monthly, PROFILE Matt Ottley, by Jennifer Higgie: ‘The Tree of Ecstasy and Unbearable Sadness, the latest book by writer, illustrator, musician and composer Matt Ottley is a powerful examination of mental illness.
“If you’re unable to talk about it, there’s solace in the discovery that you’re not alone.” He takes a deep breath. “My story,” he says, “is not uncommon. I’ve met people my own age who have been on the run for a large part of their life.”
Publishing details: The Monthly, View this email in a browserEdition No. 390, March 12–18, 2022

Whitney William Montague 1867-1948view full entry

Reference: see EWBANK'S auction, UK, 24.3.22, lot 3384, William Montague Whitney (Australian 1867-1948), 'Australian Farmsteads in a landscape'. Watercolour. 25 x 35cm.

Wooler John view full entry

Reference: see Jasper52 auction, New York, NY, United States, Prints and Fine Art
Mar 17, 2022, lot 111: Title: 1913 Oil on Canvas Landscape with River View at Sunset, John Wooler , Australia
Description: This is an original oil painting on canvas by John Wooler, a noted photographer and painter (South Australian, Early 20th century). The large framed painting features wooded river bed landscape scene in South Australia.
This is a Beautiful Landscape painting with pink orange sunset colors, its ready to hang .
Signed and dated for 1913.
Frame: 36 3/4 x 28 1/2". Sight: 33 1/2 x 25 1/2".

Crow Vincentview full entry

Reference: Haberfield - Distinctly Australian
‘This copiously illustrated history of the Sydney suburb of Haberfield emphasises its 'Federation' character, its 'garden suburb' aspect, and the reflection of nationalism...’
Publishing details: V. Crow, Haberfield NSW, 1997. Quarto; paperback; 77pp., with many monochrome illustrations.
Ref: 1000

Shead Garryview full entry

Reference: The Unused Portion. By Lynn Hard & Garry Shead (illus.)
Publishing details: ETT Imprint, 2013. Limited edition of 100 copies. Quarto paperback; 76pp., monochrome drawings.
Ref: 1000

Taste and Science - Macleay Womenview full entry

Reference: see Taste and Science - The Macleay Women by Elizabeth Windshuttle
Publishing details: Historic Houses Trust, 1988, pb, 96pp

Reiser William view full entry

Reference: see Lotus International Auctions, LLC, Apr 11, 2022, Guilford, CT, USA
View Auction, lot 137: William Reiser, Herberlon , Australia, info on. William Reiser is known for Painting, Watercolor. . verso Frame size: 13.50 x 16.75, dated 1888 on verso.. Title: Pond in the forest. Medium: Watercolor. Size: 6.50 x 9.75. Sight in. Signature: Unsigned. Framed. Inscribed verso ‘Herberlon [Hobarton?] Australia... sketched by my brother William Reiser... 1888... Gertrude A Grieb’.

Bolton Robertview full entry

Reference: see Lotus International Auctions, LLC, Apr 11, 2022, Guilford, CT, USA
View Auction, lot 102: Robert J. Bolton, Flinders Ranges, Australia. FRrame size: 13.50 x 15.50, pencil signed back with address label, title, and date 1996. Title: Flinders Ranges. Medium: Oil on Board. Size: 9.50 x 11.50 in. Signature: SLL. Artist: Robert J. Bolton. Framed. Inscibed with artist’s address on reverse: Box 54, Gerringong, NSW

Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model Theview full entry

Reference: “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online
Ref: 1000

art trainingview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

training in artview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

art schoolsview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

South Australian School of Artview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

Gill HPview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l. See Report by H. P. Gill on 'The Art Schools of England - the relations of Art Masters in English Schools - the best kind of Art School for South Australia,' (May 1892). p479
Publishing details: online

Howie L H list of studentsview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l. See L.H. Howie's list of G.C.A.S. past students' employment, plus enrolment details 1924 and 1925, p497
Publishing details: online

Clayton Samuel silversmith 1814view full entry

Reference: see BURSTOW & HEWETT, auction, UK, 23.3.2022. lot 1402: A rare 48th Foot Northamptonshire's medal 1814, awarded to Matthew Readyough, inscribed on reverse Vittoria, Pyrenees, Nivelle, Orthes and Toulouse, note: the 48th Regiment in 1819 were the new garrison regiment at New South Wales Colony Australia and were guarding convicts. The Commanding Officer Colonel Erskine arranged to have 242 Regimental medals produced and engraved for every soldier still with the Regiment who had served in the Peninsular War. The medals were the work of local silversmith Samuel Clayton, a convicted fraudster who had been transported to NSW Colony some years before. Only around 25 examples are known to exist in private collections or museums.

May Tedview full entry

Reference: see ANDREW SMITH & SON auction, UK, 22-4.3.2022, lot 654: Edward (Ted) May (Australian, b 1939) - 'Land and trees', acrylic on canvas, signed lower left, 34 x 43.4 cm. Bonython-Meadmore Gallery, Woollahra, New South Wales label to verso dated 27/6/89. Good condition, no obvious defects to front, age/fox spots to canvas reverse

May Edwardview full entry

Reference: see also Ted May

Farey Cyril Arthur FRIBA view full entry

Reference: see ANDERSON & GARLAND LTD. auction, UK, 29-30 March, 2022, lot 196: Cyril Arthur Farey FRIBA and Graham Dawbarn CBE (1888-1954)
The original builder's draught of the Sydney Harbour Bridge for Messers Dorman Long, signed and dated 1924, Royal Academy of Arts British Architecture 1937 Exhibition label verso, watercolour, 77 x 172cms, framed.
Notes:
Royal Academy of Arts British Architecture 1937 Exhibition label reads Arcitets - Sir John Burnet Tait & Lorne, Title - Sydney Harbour Bridge coloured perspective, Draughtsman - Mr Cyril Farey, Section - Bridges.
Label for Return to Messers Dorman Long, Terminal House, Grosvenor Gardens.
Framer's labels for A.R. Skillen & Co, London and James Boublet & Sons, Mortimer Street.

Dawbarn Graham CBEview full entry

Reference: see ANDERSON & GARLAND LTD. auction, UK, 29-30 March, 2022, lot 196: Cyril Arthur Farey FRIBA and Graham Dawbarn CBE (1888-1954)
The original builder's draught of the Sydney Harbour Bridge for Messers Dorman Long, signed and dated 1924, Royal Academy of Arts British Architecture 1937 Exhibition label verso, watercolour, 77 x 172cms, framed.
Notes:
Royal Academy of Arts British Architecture 1937 Exhibition label reads Arcitets - Sir John Burnet Tait & Lorne, Title - Sydney Harbour Bridge coloured perspective, Draughtsman - Mr Cyril Farey, Section - Bridges.
Label for Return to Messers Dorman Long, Terminal House, Grosvenor Gardens.
Framer's labels for A.R. Skillen & Co, London and James Boublet & Sons, Mortimer Street.

Royal S.A. Society of Arts Associate Contempòrary Groupview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

Highlight edited by Dubois, Adelaideview full entry

Reference: see “The Profession Training of Artists in Australia,1861-1963, with Special reference to the South Australian model", by Neville Edward Weston. Thesis submitted for the degree of Doctor of Philosophy, Department of Education University of Adelaide December, l99l.
Publishing details: online

Art Education in New South walesview full entry

Reference: Hilson, M.M.L., 'Art Education in New South wales, 1850's to 1930's, with particular reference to the contribution of Joseph Fowles, Frederick W. Woodhouse, and John E. Branch.' M.Ed. Canberra, C.A.E., 1982.
Publishing details: Canberra, C.A.E., 1982.
Ref: 1000

Fowles Joseph view full entry

Reference: see Hilson, M.M.L., 'Art Education in New South wales, 1850's to 1930's, with particular reference to the contribution of Joseph Fowles, Frederick W. Woodhouse, and John E. Branch.' M.Ed. Canberra, C.A.E., 1982.
Publishing details: Canberra, C.A.E., 1982.

Woodhouse Frederick W view full entry

Reference: see Hilson, M.M.L., 'Art Education in New South wales, 1850's to 1930's, with particular reference to the contribution of Joseph Fowles, Frederick W. Woodhouse, and John E. Branch.' M.Ed. Canberra, C.A.E., 1982.
Publishing details: Canberra, C.A.E., 1982.

Branch John Eview full entry

Reference: see Hilson, M.M.L., 'Art Education in New South wales, 1850's to 1930's, with particular reference to the contribution of Joseph Fowles, Frederick W. Woodhouse, and John E. Branch.' M.Ed. Canberra, C.A.E., 1982.
Publishing details: Canberra, C.A.E., 1982.

Hobart Mechanics Instituteview full entry

Reference: Burke, Dooley , 'The Social and Aesthetic Preconditions of the Hobart Mechanics Institute.' B.A. School of Art, Hobart, 1974. Thesis.
Ref: 1000

National Gallery School of Victoriaview full entry

Reference: Astbury, Leigh , 'The National Gallery School of Victoria, 1870-1890. M.A. (Prelim), University of Melbourne, 1975.
Ref: 1000

art educationview full entry

Reference: see Astbury, Leigh , 'The National Gallery School of Victoria, 1870-1890. M.A. (Prelim), University of Melbourne, 1975.

training in artview full entry

Reference: see Astbury, Leigh , 'The National Gallery School of Victoria, 1870-1890. M.A. (Prelim), University of Melbourne, 1975.

South Australian art 1836-1887view full entry

Reference: Young, Marisa , 'Art and Design Education in South Australia 1836-1887.' Australian Art Education. May 1991, Vol. 15, No. l, pp.35-43.
Ref: 1000

Carmichael Henryview full entry

Reference: see Turney, C , 'Henry Carmichael: Australian Journal of Education.'Vol. 4, Melbourne, 1960.

Bibliographical Essay on Art Historical Studies in Australia view full entry

Reference: Stewart, J.M., 'Bibliographical Essay on Art Historical Studies in Australia since 1958.' Australian Academv of the Humanities.
Publishing details: Sydney, University Press, 1974.
Ref: 1000

Art Historical Studies in Australia view full entry

Reference: see Stewart, J.M., 'Bibliographical Essay on Art Historical Studies in Australia since 1958.' Australian Academv of the Humanities.
Publishing details: Sydney, University Press, 1974.

History of art Australia view full entry

Reference: see Stewart, J.M., 'Bibliographical Essay on Art Historical Studies in Australia since 1958.' Australian Academv of the Humanities.
Publishing details: Sydney, University Press, 1974.

Souter D Hview full entry

Reference: Souter, D.H., 'The Commercial Aspect of Art, or Why Artists are Poor.'
Publishing details: Art and Architecture. Vol. 6, 1909, pp.50-52.
Ref: 1000

Ashton Jamesview full entry

Reference: Raptis, Constantine , 'Paintings by James Ashton, f 1859-1935 a loan exhibition from the collection of Mr. R.D. Martin.'
Publishing details: Flinders University Art Museum, 6-20 January, 1982.
Ref: 1000

Bock Thomasview full entry

Reference: see Quick, M., and Stilwell, G., 'The Bock Drawings at the Allport Library and Museum of Fine Arts.' Art and Australia. March, 1969, pp.320-325.

Glover Johnview full entry

Reference: see Olsen, J., 'John Glover.' Art and Australia. September, 1965, pp.100-105.

Hattam Collectionview full entry

Reference: see McCaughey, Patrick , 'Two versions of Melbourne Humanism in the Hattam Collection.' Art and Australia. June, 1968.

Gill Henry Pelham view full entry

Reference: see Gill, H.P., 'Straight and devious paths of studentship: lecture at the School of Design, Adelaide.'
Publishing details: School of Design Art Club. 9 February, 1894, Adelaide.
Ref: 1000

Gill Henry Pelham view full entry

Reference: Gill, H.P., 'Elementary Design.'
Publishing details: Education Department, Adelaide, 1892.
Ref: 1000

De Berg Hazelview full entry

Reference: see De Berg, Hazel, 'Taped interviews with Australian Artists.’
Publishing details: N.L.A. Canberra.

Dargie Williamview full entry

Reference: Dargie, W., 'Stony Ground: A professional artist's view of current art education at Primary and Secondary level in Victoria.'
Publishing details: paper in SASA archives, no date.
Ref: 1000

Bell Georgeview full entry

Reference: see Casey, M., 'George Bell in Bourke Street.' Art and Australia. September, 1966, pp.123-724.

Burn Ianview full entry

Reference: see Burn, Ian , 'The 1960's: crisis and aftermath.' Dialogue. pp.101-119.
Publishing details: Sydney, Allen and Unwin, 1991,

Brook Donaldview full entry

Reference: see Brook, Donald , 'A New Theory of Art.' British Journal of Aesthetics. Vol. 20, No. 4, 1980.

Lindsay Normanview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Lionelview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Ruby p107 108 etcview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Philip view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Mary view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Ramber The magazine p9view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Moffitt Ernest discussion of his 1899 bookview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Bulletin The p11view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

bookplates various referencesview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Daley Victor tribute toview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

McCrae Hugh refs eg p17 24 32-3 66-7view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Dickerson Robertview full entry

Reference: City People - Catalogue for a 1977 exhibition of works by Robert Dickerson.

Publishing details: Brisbane: Philip Bacon Galleries, [1977].
First Edition.
29.5cm x 21cm. [28] pages, black and white illustrations. Illustrated saddle- stapled wrappers.
Ref: 1000

Sackett Edna illustratorview full entry

Reference: Churches of Van Diemen’s Land, by Reg A. Watson, illustrated by Edna Sackett

🔍

Churches of Van Diemen’s Land

Reg A. Watson
Hobart: O. B. M. Publishing, 1976.
First Edition.

19.5cm x 24.5cm. [ii], 56, [4] pages, black and white illustrations. Cloth, gilt lettering, illustrated jacket.

🔍

Churches of Van Diemen’s Land

Reg A. Watson
Hobart: O. B. M. Publishing, 1976.
First Edition.

19.5cm x 24.5cm. [ii], 56, [4] pages, black and white illustrations. Cloth, gilt lettering, illustrated jacket.

Publishing details: Hobart: O. B. M. Publishing, 1976.
First Edition.

19.5cm x 24.5cm. [ii], 56, [4] pages, black and white illustrations. Cloth, gilt lettering, illustrated jacket.
Ref: 1000

Stocks Ernest Ernest Decimus 1840-1921view full entry

Reference: see Douglas Stewart Fine Books press release, 17.3.2022: Ernest Decimus Stocks, 1840-1921 (attributed), The Gap, Sydney Heads.
[Probably 1879 or 1880]. Watercolour on paper, 217 x 247 (sight), initialled in the image lower right ‘E.D.S.’; in the original mat, which has a fully contemporary inscription in pencil on the verso: ‘The Gap / Sydney Heads / 21st Prize’; the work has some scattered light foxing (most visible in the sky area), but is otherwise in very good condition – no tears or marks, and with strong original colour; the mat is foxed and has traces of silver fishing.
WHY HAVE WE ATTRIBUTED THE GAP, SYDNEY HEADS TO ERNEST D. STOCKS?
Ernest Decimus Stocks (1840-1921) was a Manchester-born artist who arrived in South Australia in 1852, where he joined his uncle to work on a farm near Adelaide. In 1853, with other members of his family, he settled in Melbourne, and by 1855 he was prospecting for gold on the diggings at Ballarat. Like so many others, he failed to make his fortune, but he remained in Ballarat with his mother, sister and brothers, where he made a living as a school teacher at Durham Lead throughout the 1860s and 1870s. His earliest surviving painting – a view of Buninyong from Bowen Hill – dates from 1875. In 2005 the Geelong Art Gallery staged the exhibition Ernest Decimus Stocks 1840-1921. We have attributed the present work to this artist on the basis not only of the artist’s initials E. D. S., but also the stylistic similarities between this view of The Gap and other extant watercolour views by Stocks (see the Geelong Art Gallery catalogue for numerous examples). Furthermore, the inscription on the verso of the mat is tell-tale evidence that this work was offered by Stocks as a prize in one of the several Art Unions (which Stocks called Art Distributions) the artist is known to have organised between 1877 and 1889, commencing with a selection of views of Geelong and district in 1877. We believe the present painting was offered as one of the 31 works in Stocks’ Art Union held in Sydney in April 1880 (see below). Stocks travelled widely, making sketches and watercolours in situ and often producing larger format oil paintings based on these. Although most of his surviving work comprises views of Western and Central Victoria, he painted topographical views in Gippsland, South Australia, Tasmania, New Zealand, Queensland, Western Australia and New South Wales, including scenes around Sydney Harbour. The first prize in his 1879 Art Union, held in Ballarat, was a painting titled View of Sydney, and another Sydney watercolour, South Head from Manly, is held in the Mitchell Library.
AROUND WHAT DATE WAS THE GAP, SYDNEY HEADS PAINTED?
In April 1880, Stocks conducted an Art Union in Sydney. We believe that The Gap, Sydney Heads was the twenty-first prize in this particular art lottery, which included 31 of the artist’s works. From The Sydney Daily Telegraph, 20 April 1880:
‘Mr. Ernest D, Stocks, an artist of no small repute, has now on exhibition, at Messrs. Nicholson and Ascherberg’s, George-street, Mr. Read’s, George-street, and Messrs. Brown and Aldenhoven, King-st, a number of very beautiful watercolour paintings illustrative of New South Wales and Victorian scenery (principally the former), which he intends to dispose of by art-union at as early a date as possible. In addition to pictures on view in Sydney there are some at Mr. Hillmore’s, Auburn-street, Goulburn. The pictures are 31 in number and are painted with great fidelity to the characteristics of our colonial scenery. The first shows Sydney Heads taken from the heights above the entrance to Middle Harbour. The South Head comes boldly into view, with Watson’s Bay lying to the right. The second gives a view of the Blue Mountains taken from a standpoint close to Richmond, looking across the fertile valley of the Hawkesbury. The third is a scene on the Hawkesbury from just below the bridge which leads across the Richmond River. In the background are the Blue Mountains and the Gorge of the Grose. “Wagga Wagga from above the Southern Railway Station,” forms the subject of the fifth painting ; and a sixth shows the south-eastern corner of Lake Corangamite and part of the celebrated run of Messrs. Robertson. The remaining views include — “Prince Regent Glen ;” “Wentworth Falls ;” “Confluence of Snowy and Buchan, Victoria ;” “Mount Hay, Blue Mountains ;” “Yass River ;” “Govett’s Leap ;” “Dangan Doore (Lake Tyers ,Gippsland) ;” “Botanical Gardens ;” “River Murray, Albury ;” “Port Jackson, from above Manly ;” “Towards Broken Bay ;” “Garden Island Clark Island
and Double Bay ;” “Glen, near Weatherboard ;” “The Gap ;” “The Zigzag ;” “Mount Bogong, Victoria ;” “The Cleft, near Gap ;” “Mulwarri Creek ;” “Pulpit Rock, Blue Mountains ;” Manly Town and Pacific ;” ” View from North Harbour ;” “Buffalo Range, Victoria ;” Mount Feathertop—Sunset ;” “Rocks, Breadalbane.” The paintings are valued at 100 guineas, and they are to be disposed of by means of 800 tickets at 10s each. The winner will be supervised by Messrs. J. A. Roberts G. Munro, J. S. Jamieson, J. C. W. Nicholson, J. Gardyne and C. C. Skaratt.’
A NOTE ON THE FIGURE IN WHITE AT CENTRE LEFT OF THE PAINTING
The Gap is a notorious place for suicides, the first one recorded there being that of Anne Harrison, wife of the former licensee of The Gap Hotel, who jumped to her death in the early hours of 6 October, 1863.
An intriguing detail in this painting – a deliberate touch of artistic license, in our opinion – is the ghostly human form depicted in the middle ground on the left of the picture. Dressed in a long white coat and wearing a white hat, the figure has proceeded well beyond the safety fence, and is shown on the perilous outcrop, bent forward in motion, seemingly with the intent to throw themselves from the precipice onto the rocks below.

Charlsley Fanny Anneview full entry

Reference: See Hordern House catalogue, March 2022: The Wild Flowers around Melbourne. ‘A scarce and attractive copy of this sumptuous book, one of a handful of Australian botanical books published by women working in Australia in the second half of the nineteenth century. This was a time when the science of gardening and botany was widely appreciated and seriously studied. Charsley’s work not only exhibits newly found species, but reflects in its most sumptuous design the high esteem in which this knowledge of her subject was held.
the preparatory stages of illustrating this beautiful work. Unusually, she made the lithographs on stone herself, while the leading botanist Ferdinand von Mueller added the botanical classifications. Von Mueller was so impressed with the botanical accuracy of her work that he named an Australian flower in her honour, Helipterum charsleyae, whilst Charsley dedicated her publication to him.
Ferguson, 8106a; Nissen, BBI 347.
Charsley (1828-1915) arrived in Melbourne with family in 1857 and during her stay over the next ten years produced a set of fine watercolours of the wildflowers of the area. On her return to England in 1867, she used her original paintings in the preparatory stages of illustrating this beautiful work. Unusually, she made the lithographs on stone herself, while the leading botanist Ferdinand von Mueller added the botanical classifications. Von Mueller was so impressed with the botanical accuracy of her work that he named an Australian flower in her honour, Helipterum charsleyae, whilst Charsley dedicated her publication to him.
Ferguson, 8106a; Nissen, BBI 347.
Publishing details: London, Day & Son, 1867.
Folio, uncoloured lithograph title page and thirteen hand coloured lithograph plates; original green cloth, upper cover titled in gilt, all edges gilt;

Dayes Edward view full entry

Reference: see COLLINS, David.
An Account of the English Colony in New South Wales, with Remarks on the Dispositions, Customs, Manners, &c. of the Native Inhabitants of that Country. To Which are Added, Some Particulars
of New Zealand... [With] An Account of the English Colony... Vol. II... [adding:] An Account of a Voyage performed by Captain Flinders and Mr. Bass;
by which the existence of a strait separating
Van Dieman’s Land from the continent of New Holland was ascertained...
Two volumes, quarto, with three engraved charts and 32 engraved plates including eight in the text (five handcoloured). From Hordern House catalogue march 2022: The complete first edition of David Collins’s beautifully illustrated Account, the earliest history of Australia as an English colony and the most detailed and painstaking of all descriptions of the voyage and first settlement found in any of the early narratives. While the first volume, published in 1798, is scarce, the 1802 second volume is more difficult to find, and is of great importance ‘not only for its detailed chronicle of events but because of its narrative of voyages and expeditions of discovery... The journals of Bass and Flinders are of particular importance since Bass’s journal has never been recovered and... the accounts of
inland expeditions recorded in the journals of John Price and Henry Hacking are singularly interesting. Quite apart from the exploration interest of these journals, they provide the first report of the existence of the koala, the earliest recorded sighting of a wombat on mainland Australia and the first report of the discovery of the lyrebird, which is for the first time described and illustrated in colour...’ (Wantrup).
Collins had arrived with the First Fleet as Judge-Advocate and was secretary to Governor Phillip. His book is a valuable account of the early settlement by an educated and observant resident of ten years. The last of the Australian foundation books to be published, it is illustrated with full-page engravings prepared in London by the well- known artist Edward Dayes from sketches done in the colony by the convict artist Thomas Watling. They are the first views to have been published of British settlements at Sydney and Parramatta. Uniform sets of the two volumes, in good contemporary condition, are of some rarity; this is a fine set, with its evidence of uniform early ownership, in a most attractive binding of the so-called “russia leather”, distinctive for its lightly diced patterning, sometimes seen on bindings, particularly of quarto travel narratives, in the first decades of the 19th century,
Crittenden, ‘A Bibliography of the First Fleet’, 69-70; Ferguson, 263, 350; Hill, 335 (volume I only); Wantrup, 19, 20.
See Hordern House catalogue, March 2022
Publishing details: London, T. Cadell, Jun. and W. Davies, 1798 & 1802.

Watling Thomas view full entry

Reference: see COLLINS, David.
An Account of the English Colony in New South Wales, with Remarks on the Dispositions, Customs, Manners, &c. of the Native Inhabitants of that Country. To Which are Added, Some Particulars
of New Zealand... [With] An Account of the English Colony... Vol. II... [adding:] An Account of a Voyage performed by Captain Flinders and Mr. Bass;
by which the existence of a strait separating
Van Dieman’s Land from the continent of New Holland was ascertained...
Two volumes, quarto, with three engraved charts and 32 engraved plates including eight in the text (five handcoloured). From Hordern House catalogue march 2022: The complete first edition of David Collins’s beautifully illustrated Account, the earliest history of Australia as an English colony and the most detailed and painstaking of all descriptions of the voyage and first settlement found in any of the early narratives. While the first volume, published in 1798, is scarce, the 1802 second volume is more difficult to find, and is of great importance ‘not only for its detailed chronicle of events but because of its narrative of voyages and expeditions of discovery... The journals of Bass and Flinders are of particular importance since Bass’s journal has never been recovered and... the accounts of
inland expeditions recorded in the journals of John Price and Henry Hacking are singularly interesting. Quite apart from the exploration interest of these journals, they provide the first report of the existence of the koala, the earliest recorded sighting of a wombat on mainland Australia and the first report of the discovery of the lyrebird, which is for the first time described and illustrated in colour...’ (Wantrup).
Collins had arrived with the First Fleet as Judge-Advocate and was secretary to Governor Phillip. His book is a valuable account of the early settlement by an educated and observant resident of ten years. The last of the Australian foundation books to be published, it is illustrated with full-page engravings prepared in London by the well- known artist Edward Dayes from sketches done in the colony by the convict artist Thomas Watling. They are the first views to have been published of British settlements at Sydney and Parramatta. Uniform sets of the two volumes, in good contemporary condition, are of some rarity; this is a fine set, with its evidence of uniform early ownership, in a most attractive binding of the so-called “russia leather”, distinctive for its lightly diced patterning, sometimes seen on bindings, particularly of quarto travel narratives, in the first decades of the 19th century,
Crittenden, ‘A Bibliography of the First Fleet’, 69-70; Ferguson, 263, 350; Hill, 335 (volume I only); Wantrup, 19, 20.
See Hordern House catalogue, March 2022
Publishing details: London, T. Cadell, Jun. and W. Davies, 1798 & 1802.

Lewin John William view full entry

Reference: See Hordern House catalogue, March 2022: 19. GRANT, James.
The Narrative of a Voyage of Discovery, performed in His Majesty’s Vessel The Lady Nelson, of sixty tons burthen, with sliding keels, in the years 1800, 1801 and 1802, to New South Wales...
Quarto, with a large folding plan, chart, coloured plate
of a cockatoo and five other engravings including a portrait of Bennelong; complete with the “List of the Encouragers” and the blank leaf; a handsome copy, with wide margins,
in contemporary calf, respined to match by Aquarius.
London, C. Raworth, 1803.
The Lady Nelson was the first ship to be built with sliding keels to allow closer exploration of shallow coastal waters. James Grant was born in Scotland in 1772; in 1800, as a lieutenant in the Royal Navy, he brought the Lady Nelson to Australia in company with HMS Porpoise. He sailed the unusually designed ship through Bass Strait, the first to do so from the west and, on arrival at Sydney, discovered that he had missed Flinders to whom he was to deliver the ship and was sent back to survey the south-western coast of the continent, assisted by
Francis Barrallier. However, because of the lateness of the season, the survey, which took place from March to May 1801, concentrated on Bass Strait and the Victorian coast instead. The chart of Bass Strait here was the first to be published of the newly-discovered Victorian coast.
Over the next two years Grant made several voyages of discovery along the New South Wales coastline but is best remembered for his work in the
Hunter River area which resulted in the establishment of Newcastle. Two engravings in this book illustrating the Lady Nelson’s exploration of the Hunter were probably engraved after sketches by the colony’s first professional artist, John William Lewin, who accompanied the expedition. The beautiful hand-coloured plate of the “Fringe Crested Cockatoo” is present here in particularly fine condition. There are also portraits of the important Aboriginal figures Pimbloy (an alternative spelling of Pemulwuy, the great warrior) “in a canoe of that country” and Bennelong.
This is “a rare book, even more so in fine contemporary condition. It is of the highest significance to any collection of Australian books and no collection of books dealing with coastal discovery or with Victoria can be without it...” (Wantrup).
Davidson, ‘A Book Collector’s Notes’, pp. 125-6 (‘a rare and most desirable item’); Ferguson, 375; Hill, 718; Wantrup, 75.

Scott sisters Harriett and Helenaview full entry

Reference: KREFFT, Johann Ludwig Gerard.
The Mammals of Australia, illustrated by Miss Harriett Scott, and Mrs Helena Forde, for the Council of Education: with a short account of all the species hitherto described.
Folio, with 16 lithographed plates; with the final leaf of advertisements, in original red-brown printed wrappers,
Publishing details: Sydney, Thomas Richards, 1871.
Ref: 1000

Forde Helena view full entry

Reference: see KREFFT, Johann Ludwig Gerard.
The Mammals of Australia, illustrated by Miss Harriett Scott, and Mrs Helena Forde, for the Council of Education: with a short account of all the species hitherto described.
Folio, with 16 lithographed plates; with the final leaf of advertisements, in original red-brown printed wrappers,
Publishing details: Sydney, Thomas Richards, 1871.

Huxley T illustratorview full entry

Reference: MACGILLIVRAY, John.
Narrative of the Voyage of H.M.S. Rattlesnake, commanded by the late Owen Stanley, R.N., F.R.S. &c. during the years 1846-1850...
Two volumes, octavo, with engraved folding map and 13 lithographed plates after T. Huxley and others as well as many text illustrations;
See Hordern House catalogue, March 2022
Publishing details: London, T. & W. Boone, 1852.
Ref: 1000

Potter Charlesview full entry

Reference: POTTER, Charles.
Photographs of New South Wales.
Oblong folio, 207 mounted photographs in splendid substantial original album of dark blue morocco, ornately gilt. Under the direction of the Government Printer, Charles Potter, this rare, massive and sumptuous album of early Sydney was produced at the artistic pinnacle of government printing and binding. It contains 80 photographs of early colonial history, including colonial art, 100 photographs of New South Wales, and 27 photographs from drawings by John Rae. The album showcases New South Wales as a hub of the British Empire and documents Sydney in wonderful style as a beautiful and thriving metropolis. The photographs capture the harbour and waterways as thoroughfares for industry, and feature impressive architectural and municipal views, together with striking topographical views of the Nepean River and the Blue Mountains and further afield.
A series of 27 photographs showcases the work of John Rae (1813-1900), a talented amateur artist actively involved in the use of photography. As early as 1855 he gave two lectures on the
subject at the Sydney School of Arts. Several of Rae’s early drawings are thought to have been done with the aid of photography, an interest he shared with his friend John Skinner Prout. The Sydney Morning Herald mentions in September 1855 that Rae had recently built a camera obscura on the roof of his house “Hilton” in Darlinghurst. In 1900 the Bulletin praised his keen artistic perception and considered his collection of views of Sydney as one of the best extant. His sketches were sent to the Calcutta Exhibition in 1883 and to the Centennial International Exhibition in 1888 and gained much favourable comment.
Julia Peck has summarised the history of the Government Printing Office in the Encyclopedia of Nineteenth-Century Photography (2007):
‘The New South Wales Government Printer (NSWGP), a public works department in Sydney, was established in 1859 as an extension of the postage stamp department. The first Government Printer, Mr. Thomas Richards, established the “Photolithographic and Lithographic” department in 1868 and the “Photomechanical” department in 1877. Richards’ intention for the photographs was the depiction of natural features and the material progress of the colony; the distribution of the photographs was promotional.
‘Photographs were sent to international exhibitions, including the Centennial International Exhibition, Melbourne, 1888, when the department sent 178 photographs. The main form of presentation, however, was in album format, produced internally by the Printer’s binding department. The quality, style and size of the albums were remarkable and produced as gifts for official visitors... Photographs were purchased and commissioned from commercial operators including Henry King, Charles Bayliss and Charles Kerry’.
See Hordern House catalogue, March 2022
Publishing details: N.S.W. Government Printing Press, circa 1893.
Ref: 1000

Rae John photographs of his paintingsview full entry

Reference: see POTTER, Charles.
Photographs of New South Wales.
Oblong folio, 207 mounted photographs in splendid substantial original album of dark blue morocco, ornately gilt. Under the direction of the Government Printer, Charles Potter, this rare, massive and sumptuous album of early Sydney was produced at the artistic pinnacle of government printing and binding. It contains 80 photographs of early colonial history, including colonial art, 100 photographs of New South Wales, and 27 photographs from drawings by John Rae. The album showcases New South Wales as a hub of the British Empire and documents Sydney in wonderful style as a beautiful and thriving metropolis. The photographs capture the harbour and waterways as thoroughfares for industry, and feature impressive architectural and municipal views, together with striking topographical views of the Nepean River and the Blue Mountains and further afield.
A series of 27 photographs showcases the work of John Rae (1813-1900), a talented amateur artist actively involved in the use of photography. As early as 1855 he gave two lectures on the
subject at the Sydney School of Arts. Several of Rae’s early drawings are thought to have been done with the aid of photography, an interest he shared with his friend John Skinner Prout. The Sydney Morning Herald mentions in September 1855 that Rae had recently built a camera obscura on the roof of his house “Hilton” in Darlinghurst. In 1900 the Bulletin praised his keen artistic perception and considered his collection of views of Sydney as one of the best extant. His sketches were sent to the Calcutta Exhibition in 1883 and to the Centennial International Exhibition in 1888 and gained much favourable comment.
Julia Peck has summarised the history of the Government Printing Office in the Encyclopedia of Nineteenth-Century Photography (2007):
‘The New South Wales Government Printer (NSWGP), a public works department in Sydney, was established in 1859 as an extension of the postage stamp department. The first Government Printer, Mr. Thomas Richards, established the “Photolithographic and Lithographic” department in 1868 and the “Photomechanical” department in 1877. Richards’ intention for the photographs was the depiction of natural features and the material progress of the colony; the distribution of the photographs was promotional.
‘Photographs were sent to international exhibitions, including the Centennial International Exhibition, Melbourne, 1888, when the department sent 178 photographs. The main form of presentation, however, was in album format, produced internally by the Printer’s binding department. The quality, style and size of the albums were remarkable and produced as gifts for official visitors... Photographs were purchased and commissioned from commercial operators including Henry King, Charles Bayliss and Charles Kerry’.
See Hordern House catalogue, March 2022
Publishing details: N.S.W. Government Printing Press, circa 1893.

Bark Ladies view full entry

Reference: Bark Ladies : Eleven Artists from Yirrkala / Myles Russell-Cook. Bark Ladies: Eleven Artists from Yirrkala celebrates eleven daring artists - all women who, throughout their lives, have collectively pushed the boundaries of contemporary Australian painting. This publication by Myles Russell-Cook accompanies the exhibition Bark Ladies: Eleven Artists from Yirrkala, which celebrates the National Gallery of Victoria's extraordinary collection of work by Yolnu women artists who have worked at Buku-Larrngay Mulka Centre (Buku), in North-East Arnhem Land. Included in this publication are works by Nancy Gaymala Yunupinu, Gulumbu Yunupinu, Barrupu Yunupinu, Ms N. Yunupinu, Eunice Djerrknu Yunupinu, Nongirrna Marawili, Dhambit Munungurr, Mulkun Wirrpanda, Naminapu Maymuru-White, Malaluba Gumana and Dhuwarrwarr Marika. By bringing together these eleven artists, this book highlights the extraordinary tonality, scale, diversity and materiality of their work.
Publishing details: Melbourne : National Gallery of Victoria, 2021.
x, 145 pages, chiefly colour illustrations ; portraits
Ref: 1000

Aboriginal artview full entry

Reference: see Bark Ladies : Eleven Artists from Yirrkala / Myles Russell-Cook. Bark Ladies: Eleven Artists from Yirrkala celebrates eleven daring artists - all women who, throughout their lives, have collectively pushed the boundaries of contemporary Australian painting. This publication by Myles Russell-Cook accompanies the exhibition Bark Ladies: Eleven Artists from Yirrkala, which celebrates the National Gallery of Victoria's extraordinary collection of work by Yolnu women artists who have worked at Buku-Larrngay Mulka Centre (Buku), in North-East Arnhem Land. Included in this publication are works by Nancy Gaymala Yunupinu, Gulumbu Yunupinu, Barrupu Yunupinu, Ms N. Yunupinu, Eunice Djerrknu Yunupinu, Nongirrna Marawili, Dhambit Munungurr, Mulkun Wirrpanda, Naminapu Maymuru-White, Malaluba Gumana and Dhuwarrwarr Marika. By bringing together these eleven artists, this book highlights the extraordinary tonality, scale, diversity and materiality of their work.
Publishing details: Melbourne : National Gallery of Victoria, 2021.
x, 145 pages, chiefly colour illustrations ; portraits

Ottley Mattview full entry

Reference: The Tree of Ecstasy and Unbearable Sadness, by Matt Ottley. The Tree of Ecstasy & Unbearable Sadness is an allegorical story of a boy's experience of psychosis, with mental illness represented as a fantastical tree whose flowers are ecstasy and whose fruit is unbearable sadness. Stunning drawings and paintings lead the reader through the boy's early discovery of his strangeness, his surrender to the disease (an all-consuming tree), the ensuing psychotic journey, and eventual self-acceptance. The recording of a full orchestral score composed by the author-illustrator will accompany the book, and an international tour is planned.
Publishing details: Orange, NSW : Dirt Lane Press, 2022.
0 p. ; 31 cm.

Ref: 1000

Couuts Lisaview full entry

Reference: The great book-swapping machine / [text, Emma Allen ; illustrations, Lisa Coutts. Late one night, a thing appears in the paddock next to Fabio's house.His dad calls it 'space junk' but inside Fabio discovers books. Books about the galaxy; big, fat books; books full of poems. He swaps a book with Leila from next door and the thing becomes a Great Book-swapping Machine.But will the very important woman from the Space Agency let the community keep their machine? And what will happen when Fabio pulls its shiny red lever? Comprising a funny, original and imaginative story, whimsical illustrations and an informative fact section, The Great Book-swapping Machine is a book about the joys of reading and the importance of community.
Publishing details: National Library of Australia, 2021.(unpaged) : colour illustrations ;
Ref: 1000

Keelhoff Frans 1820-93view full entry

Reference: see Bernaerts auction, Anvers, Belgium Tuesday 29 Mar 2022, lot 254:
FRANS KEELHOFF (1820-1893)
'The watermill'
Canvas.
Signed 'F. Keelhoff.'.
Expo:
Sydney, 1879, Australian International Exhibition

Graham Rigby illustrated byview full entry

Reference: see The Life of Peter Jackson Champion of Australia, by Tom Langley.
Publishing details: Published in 1974. 80 pages.

McGrath Eileen ref to The Work of Eileen McGrath p43view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Gruner Elioth refs to Gruner book p 48-9view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay familyview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Roberts Tom manuscript p94-5view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Dyson Edward view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Dyson Will p108 109 etc view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Raymond p110-11view full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

Lindsay Daryl p110 etcview full entry

Reference: see A Lindsay Miscellany by Harry F Chaplin (Lindsayana in Chaplin's collection. ‘Norman, Lionel, Ruby, Philip & Mary and other members of the family. First editions, inscribed copies, autograph letters, manuscripts and other material associated with their lives and work based on the Collection of and Annotated by Harry F. Chaplin.’).
Publishing details: The Wentworth Books, Sydney 1978. 4to, paperback, prelims + 125pp + portrait frontispiece and several b&w plates. Grey card covers

colonial prints and drawingsview full entry

Reference: see article in Openbook, SLNSW magazine, autumn, 2022, p80-83 ‘Grand Vistas’ about the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery.
Publishing details: Openbook, SLNSW magazine, autumn, 2022

Janssen Jacob referencesview full entry

Reference: see article in Openbook, SLNSW magazine, autumn, 2022, p80-83 ‘Grand Vistas’ about the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery.
Publishing details: Openbook, SLNSW magazine, autumn, 2022

Barker Henry Astonview full entry