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Professor Ian North

  • Books (Including Exhibition Books & Significant Catalogues)
    • Editor and contributor, Visual Animals: Crossovers, Evolution and New Aesthetics. Adelaide: Contemporary Art Centre of SA, 2007. Awarded Australia & New Zealand Awarded Art Association of Australia & New Zealand prize for best Australasian art publication in 2008. Co-editor with Alan Cruickshank (chief editor) and Michael Newhall, Blaze: Visual Art and Writing from the Contemporary Art Centre of South Australia, 1990-2002. Adelaide: Contemporary Art Centre, 2003.
    • Christine Nicholls and Ian North, Kathleen Petyarre: Genius of Place. Adelaide: Wakefield Press, in association with the Museum of Contemporary Art, Sydney, 2001. Awarded Art Association of Australia & New Zealand equal first prize for best book of the year in 2001. Reprinted 2005.
    • Expanse: Aboriginalities, spatialities and the politics of ecstasy. Adelaide: University of South Australia Art Museum, 1998. Exhibition catalogue and essay for University of South Australia Art Museum (now Samstag Museum of Art). First art museum exhibition at City West Site.
    • Editor and co-author. The Art of Margaret Preston. Adelaide: Art Gallery of South Australia, 1980. 88pp. Written in association with Humphrey McQueen and Isobel Seivl.
    • The Art of Dorrit Black. Melbourne: MacMillan, with Art Gallery of Australia, 1979. 154pp. Detailed analysis of life and career of Dorrit Black, pioneer Australian modernist, with catalogue raisonné.
    • Editor & co-author. Hans Heysen Centenary Retrospective. Adelaide: Art Gallery of South Australia, 1977. 128pp. Author of essay ‘The Originality of Hans Heysen' and cataloguer of paintings. Written in association with John Tregenza, Alison Carroll and Julia Burnett. Reprinted as Heysen in hardback edition by MacMillan in 1979.
    • Dorrit Black. Adelaide: Art Gallery of South Australia, 1975. Retrospective touring exhibition catalogue, 16pp.
  • Book Chapters / Entries (Including Dictionary & Encyclopaedia entries)
    • ‘Profiling Hossein: a conversation with the artist', in Mary Knights and Ian North, Hossein Valamanesh (Adelaide: Wakefield Press, 2011), pp. 6-17.
    • ‘Krapp's Bugle: John Barbour and art of the impossible', in Ewen McDonald (ed.), John Barbour Hard/Soft (Adelaide and Sydney: Australian Experimental Art Foundation and Yuill Crowley Gallery, 2011), n.p. (Reprinted from Art & Australia, Vol. 47 No. 3 (Autumn 2010), pp. 480-487).
    • ‘Wildflowers and ash', in Alan Cruickshank (ed.), George Popperwell: Delayed Voyage. Adelaide: Contemporary Art Centre, 2009), pp. 53-64.
    • ‘Notes Towards a Natural Way to do Art History', in Ian North (ed.), Visual Animals: Crossovers, Evolution and New Aesthetics. Adelaide: Contemporary Art Centre of SA, 2007, pp. 35-49. Reprinted in Broadsheet: Contemporary Visual Art + Culture, Vol 37 No 1, March 2008, pp. 48¬-55; shorter version ‘A Natural Way to do Art History', in Charlotte Day and Sarah Tutton (eds.), Before and After Science: 2010 Adelaide Biennial of Australian Art (Adelaide: Art Gallery of South Australia, 2010), pp. 28-39.
    • ‘Alan Cruickshank: Blurred Boundaries', in Rex Butler (ed.), Radical Revisionism: an anthology of writings of Australian art. Brisbane: Institute of Modern Art, 2005, pp. 292-294. Also reprinted in Alan Cruickshank (ed.), Blaze (Adelaide: Contemporary Art Centre, 2003), pp. 114-115. Originally published as ‘Blurred Boundaries', catalogue essay for an exhibition by Alan Cruickshank, Arcanum Museum, Experimental Art Foundation, Adelaide, 1995.
    • ‘Aboriginal Landscape', in Deborah Edwards and Rose Peel (eds.), Margaret Preston. Sydney: Art Gallery of New South Wales, 2005, pp. 194-195.
    • ‘Spooked: Art Museums, Photography and the Problem of the Real', in Daniel Palmer (ed.), Photogenic: Essays / Images / CCP 2000-2004. Melbourne: Centre for Contemporary Photography, 2005, pp. 71-81.
    • ‘Revolution's Gift: Aboriginal Art and a New Enlightenment', in Rachel Kent (ed.), Meridian. Sydney: Museum of Contemporary Art, 2002, pp. 28-33.
    • ‘The Kindness of Kathleen Petyarre', in Christine Nicholls and Ian North, Kathleen Petyarre: Genius of Place. Adelaide: Wakefield Press, in association with the Museum of Contemporary Art, Sydney, 2001, pp. 80-89.
    • ‘StarAboriginality', in Charles Green (ed.), Postcolonial + Art: Where Now? (Sydney: Artspace Visual Art Centre), 2001. n.p. Reprinted by Hawke Institute, University of South Australia (Working Paper no 20), 2002, and anthologised in Klaus Stierstorfer (ed.), Return to Postmodernism (Festschrift for Ihab Hassan), Heidelberg: Universitätsverlag Winter, 2005, pp. 151-166. Extract printed as ‘The New Aboriginal Australia-2001' in Ian McLean (ed.), How Aborigines invented the idea of contemporary art, Brisbane & Sydney: Institute of Modern Art and Power Publications, 2011, pp. 318-19.
    • ‘Living with Chai', in Sarah Thomas (ed.), Hossein Valamanesh: A Survey (Adelaide: Art Gallery of South Australia, 2001), pp.48-74.
    • ‘PostAboriginality, Litter and Responsibility', in Ann Hamblin (ed.), Visions of Future Landscapes. Proceedings of the 1999 Australian Academy of Science Fenner Conference on the Environment, 1999. Canberra: Bureau of Rural Sciences, 1999, pp. 119-124.
    • ‘Dorrit Black: The Castle, Taormina', in Jennifer Alison et al (eds.), From Vision to Sesquicentenary: the University through its Art Collection, University of Sydney, 1999.
    • ‘Hans Heysen.' In Jane S. Turner (ed.),The Dictionary of Art.. London: MacMillan Publishers Ltd., Vol.14, 1996, p.507 - 508.
    • Essay and biography on Dorrit Black. In Joan Kerr (ed.), Heritage: The National Women's Art Book. Sydney: Art & Australia and Craftsman Press, 1995, pp.51, 52 & 314 (repubished in The Dictionary of Australian Artists Online [DAAO], 2007).
    • ‘Gum-Tree Imperial.' (Hans Heysen, Red Gold). and ‘Aboriginal Orientation' (Margaret Preston, Aboriginal Landscape). In Daniel Thomas (ed.), Creating Australia: 200 Years of Art 1788-1988, Sydney: International Cultural Corporation of Australia, and Adelaide: Art Gallery of South Australia, 1988, pp.140-143.
    • ‘Catalogue Statement'. In J.D. Paffrath and Stelarc, eds. Obsolete Body/ Suspension/ Stelarc (Davis, California: J.P. Publications, 1984), p. 66. Originally published in a Link exhibition catalogue Stelarc: Suspension Documentation 1976-79, Adelaide: Art Gallery of South Australia, 1979.
    • ‘Photography'. In Australian National Gallery: An Introduction. National Gallery of Australia, ,Canberra, 1982, pp. 126-146.
    • ‘Rosalie Gascoigne: Signs of Light.' Australia: Venice Biennale. Catalogue. Sydney: Visual Arts Board of the Australia Council, 1982, pp. 47-53. Revised version also published in Rosalie Gascoigne catalogue, National Gallery of New Zealand, Wellington, 1983.
    • ‘Dorothea Foster Black.' In Bede Nairn & Geoffrey Searle, Australian Dictionary of Biography, Vol. 7, Melbourne: Melbourne University Press, 1979, pp.301-302.
  • Refereed Journal Articles
    • ‘The Digital Corrosion of Postmodernism', Visual Art & Culture Vol. 2, Part 1, 2000, pp. 28-45.
    • ‘J.M.W. Turner: Witness for our time.' Australian Journal of Art, Vol XIII 1996, pp. 114-132.
  • Visual Arts Industry Writing I: Industry Booklets & Policy Documents
    • Co-editor, with Michael Lloyd, & contributor. Acquisitions Policy: National Gallery of Australia. Canberra: National Gallery, 1994. Published document compiled with curatorial staff, 68pp.
    • Co-contributor, Code of Ethics. Canberra: Council of Australian Museum Associations, 1985.
    • Editor, Art Museums and Big Business. Canberra: Art Museums Association of Australia, 1984. Essays by Hans Haacke et al.
    • Editor, Peter Lasko, The Necessity of Collections, Art Museums Association of Australia, Canberra, 1981.
    • Editor, On Trusteeship. Adelaide: Art Gallery of South Australia, 1979.
    • Co-editor, Australian Public Gallery Acquisitions Policies. Melbourne: Art Association of Australia, 1977.
    • Co-Editor and contributor. Role & Constitution of Australian Art Museums. Melbourne: Art Association of Australia, 1975. Contributed paper ‘Problems and Policies,' pp.15-20.
  • Visual Arts Industry Writing II: Essays & Articles
    • ‘Bare Bones: a short response to an ancient debate', Contemporary Art & Culture Broadsheet, Vol. 40 No.4 (December 2011), p. 279.
    • (Reprint) ‘Some Recent American Art: a reply to protest' (1974), Contemporary Art & Culture Broadsheet, Vol. 40 No.4 (December 2011), pp. 267-268.
    • (Reprint) ‘Cultural Imperialism Revisited' (1975), Contemporary Art & Culture Broadsheet, Vol. 40 No.4 (December 2011), pp. 274-275.
    • ‘John Barbour 1954-2011', Art and Australia, Vol. 49 no 1 (Spring 2011), p.170.
    • ‘Fitting In: what is the artist to do in a globalising world'. Contemporary Art & Culture Broadsheet, Vol. 39 No. 2 (June 2010), pp.134-137 (transcript of Artists Week paper).
    • Commentary in Alan Cruickshank (ed.), ‘Critical or congratulatory' (Roundtable on art magazines), Contemporary Art & Culture Broadsheet, Vol. 39 No. 1 (March 2010), pp.21-22.
    • ‘Krapp's Bugle: John Barbour and art of the impossible'. Art & Australia, Vol. 47 No. 3 (Autumn 2010), pp. 480-487.
    • ‘Donald Brook, Secret Agent' (interview). Artlink, vol. 26 no 4, 2006, pp. 24-27.
    • Ian North and Christine Nicholls, ‘Three Crowded Days at Warlayirti Artists, Balgo', Crossings Vol 8 No 1, 2003, (Australian Studies Centre, University of Queensland), at < http://asc.uq.edu.au/crossings/8_1/ >
    • ‘Fieldwork', Artlink, Vol 23 no 1, March 2003, pp. 81-82.
    • ‘Smoke and Lenses', (review of Isobel Crombie and Susan Van Wyk, Second Sight: Australian Photography at the National Gallery of Victoria), Photofile 66, 2002, pp. 45-47.
    • (The World May Be) Fantastic, (review of 2002 Biennale of Sydney), Artlink Vol 22 no. 3, 2002, pp. 81-82.
    • ‘Open Letter to the Hon. Mike Rann, Premier and Minister for the Arts, Concerning the Matter of a Museum of Contemporary Art for South Australia,' Broadsheet, Contemporary Art Centre of South Australia, Vol 31, no.2, 2002, pp. 8-9.
    • ‘Death of a Poet,' obituary for Ron Hawke, Art Monthly Australia, March, no. 147, 2002,
    • p. 39.
    • ‘La Gran Historia,' (‘Big Story: Revisioning Australian Art, 1971¬-2001,') Lapiz (Madrid), 179/180, 2002, pp. 98-109.
    • ‘Imants Tillers and Positive Value: a conversation with Ian North,' Artlink Vol. 21, No. 4, 2001, pp. 35-41. Extract printed as ‘Post-Aboriginality-2001') in Ian McLean (ed.), How Aborigines invented the idea of contemporary art, Brisbane & Sydney: Institute of Modern Art and Power Publications, 2011, pp.320-21.
    • Christine Nicholls and Ian North, ‘The GST Blues in the Balgo Hills', Art Monthly Australia, September 2000, pp.25-27.
    • ‘The Link Exhibitions: a rough reminiscence of faint scandal' Artlink vol 20 no 3, September 2000, pp 30 - 32.
    • ‘C(r)ook Brook: Ian North has the last word' A riposte to Donald Brook (article on art industry), Artlink, Vol. 15, nos 2 & 3, Winter -Spring 1995, p. 27.
    • ‘In the coil of life's hunger.' Artlink, Vol. 14 No 4, Summer 1994, pp. 41-44. (Comparison of Colin McCahon and James K. Baxter).
    • ‘Kant's Bird, Cleopatra's Nose, and Beauty-Truth-Goodness', in Margot Osborne (ed.), The Return of Beauty, Adelaide: Jam Factory (Festival Catalogue), 2000, n.p.
    • ‘Postmodernism is dead: why won't it lie down' (Vichitra, Vol.1, Rabindra Bharati University Calcutta), 1999, pp.1-4.
    • ‘Thin Red Pocket Lining: a note on the value of university art schools'. Artlink 38, Vol 19 no. 2, 1999, pp. 38 - 39.
    • ‘Rosalie Gascoigne: Golden Apples', in Max Delany and Jason Smith (eds.), Clemenger Contemporary Art Award 1999. Melbourne: Museum of Modern Art at Heide & National Gallery of Victoria, 1999, 16.
    • ‘The Ham Museum.'Artlink, Vol 12 No. 3, Spring, 1992, pp. 35-37.
    • Guest editor. Art Monthly Australia, November issue, 1991.
    • ‘Reef-Dweller or Shark: The Contemporary Artist and the Art Museum.' Agenda, Issue 9, December, 1989, pp. 18-20.
    • ‘Fencing Post.'Artlink, Vol. 6, Nos 2 & 3, 1986, pp. 44-66.
    • ‘The E.A.F. in another country: a personal reminiscence.' In A Decade at the E.A.F. Stephanie Britton (ed.), Adelaide: Experimental Art Foundation, 1984, pp. 7-9.
    • ‘Introduction.' Museums Australia, December 1983 (first issue), p. 4.
    • Editor, International Photography 1920-1980 (picture book). Canberra: National Gallery of Australia, 1982. Won Canberra Book of the Year Award for its design.
    • ‘Photography'. Art and Australia.,Vol. 20, no. 1, 1982 (National Gallery Special Number). pp. 87-90.
    • Photography catalogue notes and entries in Landscape-Art: Two Way Reaction. Canberra: National Gallery of Australia, 1980 (exhibition at Australian National University).
    • ‘Three Bites of the Natural Apple.' Bulletin, Art Gallery of South Australia, 1979, pp.18-25. An analysis of works by Jan Dibbets, Hamish Fulton and Richard Long.
    • ‘Bert Flugelman: Mature Reflections.' Art International , Vol. XIII.3-4, Summer, 1979, pp. 68-73.
    • ‘Bert Flugelman, from Heroism to Reflection.' Bulletin, Art Gallery of South Australia, 1978, pp..2-15.
    • Recent Australian Painting Acquisitions. Adelaide: Art Gallery of South Australia, 1978. catalogue.
    • Australian Realist Painters. Adelaide: Gallery of South Australia, 1976, 32pp.
    • ‘Cultural Imperialism Revisited.' Broadsheet, Contemporary Art Society of South Australia, Vol 5 No 1, March 1975, pp. 10-16.
    • ‘Some Recent American Art: A Reply to Protest.' Broadsheet, Contemporary Art Society of South Australia, Vol. 4, No.3, 1974, pp.15-17.
    • ‘Robert Boynes.' Art International. Vol.XVIII, No.2, 1974, pp.25-27, 55.
    • ‘Link Exhibitions at the Art Gallery of South Australia,' Art and Australia, Vol. 12, No.2, 1974, pp.183-184.
    • ‘Adelaide & the Contemporary Art Society Exhibition.' Artemis, Vol. 5, No,.6, 1974.
    • ‘Hans Heysen.' Artemis, Vol. 4, no.4, 1973.
    • ‘The Art of Robert Campbell.' Art and Australia, Vol. 11, no. 2, 1973, pp 176-179.
    • ‘A Painting by Kenneth Noland.' Bulletin, Art Gallery of South Australia, Vol. 33, no. 4, 1972.
    • ‘A Painting by William Scott.' Bulletin, Art Gallery of South Australia, Vol. 33, no.1, 1971
  • Visual Arts Industry Writing III: Reviews
    • Review of Chris McAuliffe, Jon Cattapan: Possible Histories, Artlink, Vol 28 no 3, 2008, p.78.
    • "Istanbul", in or beyond history?', Eyeline No. 59, Summer 2005-2006, pp. 50-51.
    • ‘Dark Energies, Long Shadows' (review of Isobel Crombie, Body Culture: Max Dupain, Photography and Australian Culture 1919-1939), Australian Book Review, March 2005, pp. 15-16.
    • ‘On your (motor)bike'. Review of Reason + Emotion, Biennale of Sydney and 2004: Australian Culture Now, at NGV and ACMI, Melbourne. Artlink, Vol. 23 No. 3, 2004, pp. 17-21.
    • ‘Mr Kaldor's Feeling for Fabric', Art Monthly Australia, July, No. 161, 2003, pp. 26-28.
    • ‘Journey to Now' (review of John Kaldor collection exhibition at the Art Gallery of South Australia), Broadsheet, Vol. 32 No 2, June-August, 2003, p. 33.
    • ‘The Cloak Room,' review of George Popperwell and Anton Hart at the Experimental Art Foundation, Adelaide, Art and Australia, Vol 39. No. 3, 2002 (March, April, May), pp. 483 - 84.
    • ‘Gorilla, Tears and Toys' (review of Mark Kimber, Dissonant Harmonies, Greenaway Art Gallery), Photofile 63, 2001, p.57.
    • ‘Hossein Valamanesh', Scroll, Art Monthly Australia online, (Review of exhibition at Greenaway Art Gallery, 23 Aug - 17 Sep).2000.
    • ‘Tillers Untitled', Scroll, Art Monthly Australia online,http://www.artmonthly.org.au/ (Review of exhibition at Greenaway Art Gallery, 22 Jun - 16 Jul,) 2000.
    • Review of Blair French (ed.), Photo Files (Sydney: Power Publications with the Australian Centre for Photography), Artlink. Vol. 19, no. 3, 1999, p. 68.
    • ‘Dinkum: the value of Antony Hamilton', published as ‘Antony Hamilton: Mythology of Landscape'. Artlink, Vol.91 no. 49, 1999, pp. 83 - 84.
    • ‘Richard Dunn: Beyond Dialectics.' Artlink, Vol 13 No. 2, June - Aug, 1993, pp. 49-50.
    • ‘Art, Gold and Excrement.'Art Monthly Australia, June, 1991, pp.25-26. Review of new hang, Art Gallery of South Australia.
    • ‘Return of the Interred.' Review of the 1990 Adelaide Biennial, Artlink, Vol 10 No 4, Summer, 1990, pp. 24-26.
    • ‘Looby Tunes.' Review of Humphrey McQueen's Suburbs of the Sacred, Artlink, Vol. 8 No 3, Sep. 1988, p.49.
    • ‘The Prints of Margaret Preston.' Review of eponymous book by Roger Butler, Art & Australia, Autumn, Vol 25 number 3, 1988, pp. 342 & 344.
    • ‘The Peacock Museum.' Review of Ann Galbally, Collections of the National Gallery of Victoria. Art Monthly Australia, October, 1987, pp. 20-21.
    • ‘On Painting Angels.' Review of Gordon Brown, Colin McCahon, Artist., Art Monthly Australia, July 1987, p.24.
    • ‘ "Towards a Philosophy of Photography", by Vilem Flusser.' Book review, Photofile, Spring, 1986, p. 29.
    • Book review. ‘Joanna Mendelssohn's The Life and Work of Sydney Long,' Art and Australia, Vol. 19, no.1, 1981, pp.19-20.
    • Book review. John Berger's About Looking, Art & Text No. 2, Winter, 1981, pp. 52-53.
    • ‘Adelaide Scene.' Art and Australia, Vol.13, No l2, 1975, pp.142-143.
    • Review of Germaine Greer, The Obstacle Race, Bulletin, June 17, 1980, p.78.
    • ‘Italian Painting 1940-60.' Review, Art and Australia, Vol.9, no.3, 1971, p.208
  • Visual Arts Industry Writing IV: Short Catalogue Essays, Small Catalogues
    • ‘Something else'...(Warren Vance's Voyages d'Illumination). Catalogue essay for exhibition at Anna Pappas Gallery, Melbourne, 6 August-1 September 2010.
    • ‘Nodding to Rod', (a tribute to Rod Taylor), Artdate, November 2008, pp.1-2.
    • ‘Wildflowers and Ash', catalogue essay for George Popperwell solo exhibition Exit Music, Contemporary Art Centre of SA, 2008 (short version of essay published in 2009).
    • ‘Peter Townsend 1919-2006' (obituary) Artlink, Vol 26 no. 3, 2006, p.73.
    • ‘Subjective Satellite,' in Ariel Hassan, Internal Relationships (catalogue), Adelaide: Greenaway Art Gallery, 2006.
    • ‘Bold: Stephanie Radok's Paintings at the Museum of Economic Botany', for ‘Talking About Country', exhibition by Stephanie Radok, Gabriel Gallery, Footscray Community Centre, Melbourne, 2003.
    • ‘Orbit', in Erica Green (ed.), Orbit (Adelaide: University of South Australia Art Museum), 2001, n.p.
    • ‘Imants : from Pataphysics to PostAboriginality'. In Ted Gott (ed.), Imants Tillers: Monaro. Melbourne: Museum of Modern Art at Heide, 1998, pp.5, 8, 11.
    • 'The Grateful Dread', in Juliana Engberg, Jenny Holzer: Lustmord. Melbourne: Ian Potter Museum of Art, 1998.
    • ‘Olds remembered: the 1960s'. Paul Olds exhibition catalogue, Porirua City Cultural Centre, Wellington, 1997.
    • ‘A Tittle of a Chronicle'. In John Barbour (ed.), Mutant Paradigm.Adelaide: Centre for Contemporary Art, 1997. n.p.
    • ‘Notes towards lyrical derailments'. Rosalie Gascoigne catalogue essay, Visual Arts Program, Adelaide Festival 1996, p. 10.
    • ‘Blurred Boundaries: the strange case of Cruickshank's digital documents'. Catalogue essay in Alan Cruickshank, The Arcanum Museum. Adelaide: Contemporary Art Centre, 1995. Reprinted in Alan Cruickshank, Michael Newhall & Ian North (eds), Blaze: Visual Art and Writing from the Contemporary Art Centre of South Australia, 1990-2002. Adelaide: Contemporary Art Centre, 2003, pp. 114-115.
    • ‘Riding the Tiger'. Introduction to the catalogue, Mandy Martin, Sydney: Roslyn Oxley Gallery, 1989.
    • ‘Robert Boynes'. Introduction in Macquarie Galleries Bulletin, Sydney. Reprinted in Imagining the Real (Canberra: Duntroon c. 1988).
    • ‘Jackerooing', in Wayne Fimo and Julie Brown. Adelaide, Developed Image Gallery, 1984. Festival Exhibition. Reprinted in Photofile.
    • Co-contributor with Isobel Crombie, Helen Ennis, Martyn Jolly. Here comes the New Photography! 1920-1940. Canberra: National Gallery of Australia, 1984 (room brochure).
    • Co-contributor with Helen Ennis. The New American Colour Photographs. Canberra: National Gallery, Canberra, 1983 (room brochure).
    • Co-contributor with Isobel Crombie, Helen Ennis, Martyn Jolly. A Decade of Australian Photography 1972-82. Canberra: National Gallery of Australia, 1982 (room brochure).
    • Co-contributor with Isobel Crombie. International Photography 1920-1980. Canberra: National Gallery of Australia, 1982 (room brochure).
    • Adelaide Art Alternatives. Adelaide: Art Gallery of South Australia, 1980. Festival exhibition catalogue, including work by Hossein Valamanesh (per Roundspace Collective), and Ann Newmarch (Reclaim the Night mural).
    • 1979-1974: small catalogues to accompany Link Exhibitions (some published, some produced as one-off posters: 1974, Imants Tillers; Bert Flugelman; Tim Burns; Terry Smith; John Golding; 1975, Jim Cowley & Bob Ramsay; Noel Sheridan/ Ti Parks; Paul Partos; John Wood; 1976, Jenny Barwell; Chris Orchard; Kevin Mortensen; Pat & Richard Larter; 1977, Praxis (Perth), 1979, Stelarc; Micky Allen.
    • ‘Graphic art of German Expressionism'. Adelaide: Art Gallery of South Australia, 1974. Festival Catalogue, 1974, pp. 45-50.
    • Robert Campbell Retrospective. Adelaide: Art Gallery of South Australia, 1973. Catalogue.
    • Co-author with Daniel Thomas (chief curator) and Frances McCarthy (now Lindsay). The Australian Landscape.. Adelaide: Art Gallery of South Australia, 1972. Catalogue to touring exhibition, opening exhibition at the Adelaide Festival of Arts. 12pp.
    • Centenary Collection: Contemporary New Zealand Painting, Catalogue and introduction, (Palmerston North: Manawatu Art Gallery, 1971), 24pp.
    • Various small catalogues for Manawatu Art Gallery, including Maori in Focus, (19th century photography, shown Palmerston North and Auckland City Art Gallery), 1969-1970
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