Professor Ian North AM
Ian North is a full-time artist who is also a widely published writer on the visual arts. He employs photography and painting, sometimes combined, addressing considerations of place, identity and the post-conceptual. Has exhibited in Sydney, Melbourne and Adelaide (thirteen solo exhibitions), and in group exhibitions in London, Asia and the United States. His work is represented in fifteen Australian public collections.
His writing includes books on the pioneer modernists Dorrit Black and Margaret Preston in the 1970s, a range of essays on the impact of the Indigenous art revolution in the 1980s, and, later, the intellectual relationship between art and neuro-aesthetics.
He was Director of the Manawatu Art Gallery, Aotearoa/New Zealand 1969-71, emmigrating to Australia to become Curator of Paintings at the Art Gallery of South Australia 1971-80 and Foundation Curator of Photography at the National Gallery of Australia 1980-84. He subsequently served on the National Gallery's Council, working with curators on a comprehensive acquisition policy for the gallery, after ‘coming out' as an artist in 1985. Also sat on inaugural council of the Experimental Art Foundation, 1974, and of the Art Association of Australia, as President rewriting the constitution to create the Art Association of Australia and New Zealand.
In his academic role Ian North is associated with the development of postgraduate studies at the University of South Australia, where he held a personal chair of visual arts. As Head and (later) Professor of the South Australian School of Art (1984-1993) he organised residencies of major artists both Australian and international, campaigned successfully for the return of the School to a CBD location, established the Anne and Gordon Samstag Scholarship Program and professionalised the University of South Australia Art Museum. He is currently Adjunct Professor of Visual Arts, University of Adelaide, and since 2001 has actively contributed to the innovative postgraduate art history program offered jointly by the University of Adelaide and the Art Gallery of South Australia
MFA (doctoral degree with dissertation) New Mex.; MA New Mex.; MA Flin.; BA, Vic.,Wgtn.
Awards & Achievements
AM (Member, Order of Australia), 2014, for ‘significant services to the visual arts as a photographer, curator and educator'.
Doctor of Arts (honoris causa), University of Adelaide, 2014.
Best book of the year (Art Association of Australia & New Zealand): Ian North (ed.), Visual Animals: Cross-overs, evolution and new aesthetics, 2007.
Best book of the year (Art Association of Australia & New Zealand): Christine Nicolls and Ian North, Kathleen Petyarre: Genius of Place, 2001 (co-winner).
Van Deren Coke Fellowship (for ‘excellence in art'), University of New Mexico, 1985 and 1989.
Fulbright Senior Scholars Award, 1984.
Studio Exhibitions: Solo
East Antarctica 1915. Greenaway Art Gallery, Adelaide 1-26 April
Haven 2001. Greenaway Art Gallery, Adelaide
Felicia: South Australia 1973-78. Australian Centre for Photography, Sydney, 1 March-19 May, curated by Kon Gouriatis
Adelaide Suite 2008-09. Greenaway Art Gallery, Adelaide, 24 September-24 October
Ian North Photographs 1974-2009. Art Gallery of South Australia, 5 June-26 September, curated by Maria Zagala
Sail Away. Greenaway Art Gallery, Adelaide
Symptoms. (Recent photographs). Apartment, Melbourne 5-28 August. Also show at Greenaway Art Gallery, Adelaide, 2006.
Canberra Suite and Canberra Coda 1980-81. Greenaway Art Gallery, Adelaide
Sail Away. Apartment, Melbourne, October 1-31
Featured artist, SALA (South Australian Living Artists' Week), SoHoMUSEUM (web museum)
Vault (with Helen Fuller). Experimental Art Foundation, Adelaide
Circa 1953. 1995. Greenaway Art Gallery, Adelaide
(single ‘big picture' exhibition - part of a Festival series)
Correlations. Greenaway Art Gallery, Adelaide (subsequently shown Festival Centre, Adelaide, 2000-2001)
Home & Away. Roslyn Oxley Gallery, Sydney
Manifest Destiny. Roslyn Oxley Gallery, Sydney
Shown Contemporary Art Centre, Adelaide, 1991
Pseudo-Panoramas. Cazneaux Series. Roslyn Oxley Gallery, Sydney
Seasons. Pseudo-Panoramas. Australia. 1987. Australian Centre for Photography, Sydney
Seasons. Pseudo-Panoramas. 1985. Contemporary Art Centre, Adelaide
Did not exhibit studio work to avoid conflict of interest with museum work
Portrait of Graham Priest, Boyce Gibson Professor of Philosophy, University of Melbourne
The World is All that is Not the Case. Painted digital print. Commission, University of Melbourne Department of Philosophy, for a work celebrating its history and achievements.
Residency, Bundanon, N.S.W. (Arthur Boyd Studio), July-August
The Intelligence of Blood. Painted digital print. Commission from the Surgery Department, Queen Elizabeth Hospital, Adelaide, on surgery and human identity
Visiting Fellow, School of Art, Rabindra Bharati University, Calcutta (First Visiting Fellow from overseas)
The Olive Plantation. Painted photographic collage. Commission, Art Gallery of South Australia, for a work concerning Dorrit Black's eponymous work fifty years prior.
Great Southern Land. Adelaide Airport. 29 July-28 September, SALA exhibition. curated by Carollyn Kavanagh (larger version of exhibition held in Shandong Hotel, Jinan, April 2016)
Fleurieu Art Prize finalists exhibition. Anne & Gordon Samstag Museum of Art, Adelaide, 3 June-29 July
Public Image, Private Lives. Art Gallery of South Australia, 5 February-3 July. Curated by Julie Robinson.
anything@all. Central School of Art, 5 August-20 September. SALA exhibition curated by John Neylon
Ghostly Nature Pt. 2. Adelaide Town Hall. 8 October-4 December, Curated by Polly Dance
CACSA Contemporary. contemporary Art Cetnre of South Australia. 6-30 August. Curated by Logan McDonald
Urban Suburban. Canberra Museum + Gallery, 6 March-21 June. Curated by Leanna Santoro
The Extreme Climate of Nicholas Folland. Art Gallery of South Australia, 19 July - 30 November. Curated by Lisa Slade
Panorama. Lawrence Wilson Art Gallery, University of Western Australia,
3 May-12 July. Curated by Ted Snell.
The Road. Photographers on the Move 1970-1985. Monash Gallery of Art, Melbourne, 13 June-31 August.
Artists included: Micky Allan, Virginia Coventry, Gerrit Fokkema, John Gollings, Tim Handfield, Ian North, Robert Rooney, Wesley Stacey. Curated by Stephen Zagala.
Heartland. Art Gallery of South Australia, 20 June-8 September. Curated by Nici Cumpston and Lisa Slade.
Cacsa@70: Members Exhibition I. Contemporary Art Centre, Adelaide, 1. 20 April¬--6 May
Daya/Kindness. India Habitat Centre, New Delhi; RMIT Gallery, Melbourne, 29 June-5 August. Curators: Suzanne Davies, Alka Panda, Helen Rayment.
Photography & Place: approaches to Australian Landscape Photography 1970s until now. Art Gallery of New South Wales, 17 March-29 May. Curator: Judy Annear.
The New New. CACSA Contemporary 2010. SASA Gallery 27 Oct-21 November. Curators: Alan Cruickshank & Peter McKay.
Painthing. Australian Experimental Art Foundation, Adelaide. Curator: Domenico de Clario.
Dystopia: portraits of the urban landscape. Curator: Elizabeth Pascale/Prue Gramp. Adelaide Central Gallery.
Redlands Westpac Art Prize Exhibition. Curator: Imants Tillers. Mossman Art Gallery, Sydney. Invitational exhibition.
True Portraits: 14 South Australians. Curator: Margot Osborne. Adelaide Central Gallery
Fleurieu Peninsula Art Prize (Fleurieu Biennale). Finalists' exhibition
The Ability to Lie. Curator: Paul Greenaway. Horsham Regional Art Gallery
Archibald Prize. Finalists' exhibition, Art Gallery of New South Wales and tour
Open Borders. Curator: John Neylon. Fleurieu Peninsula Biennale Heritage Exhibition, McClaren Vale, SA
Good Looking. Curator: Kate Rhodes. National Gallery of Victoria Australia at Federation Square
Arid Arcadia: Art of the Flinders Ranges. Curator: Alisa Bunbury. Art Gallery of South Australia
Seeing Through Landscape. Curator: Alasdair Foster. Australian Centre for Photography, Sydney
Chemistry: Art in South Australia 1990-2000. Curator: Sarah Thomas. Art Gallery of South Australia
Picture This. Curator: Mark Kimber. New Land Gallery, Adelaide, and tour of regional Australia
We Are Australia. National Gallery of Victoria and Australian tour
Arf Arf (the animal in art). University of New Mexico Art Museum, Albuquerque
The Painted Coast. Curator: Jane Hylton. Art Gallery of South Australia
Faces of Hope. Amnesty International Exhibition, Art Gallery of New South Wales
Painted Realities: Hand-Coloured Photographs 1839 to the Present. The University of Wyoming Art Museum and United States tour (Curators: Gerald Lang and Lee Marks)
Colonial Postcolonial. Curator: Juliana Engberg. Museum of Modern Art, Heide, Melbourne
Postmodern Adelaide. SATEP touring exhibition. University of Adelaide Union Gallery and South Australian country centres
Critics' Choice. Curator: Robert McFarlane. Photographs from the collection. Art Gallery of New South Wales
Carte Blanche. Anima Gallery, Adelaide
14 Nautical Miles. Curator: Neil Roberts. Galerie Constantinople, Queanbeyan
Location. Curator: Juliana Engberg. Australian Centre for Contemporary Art, Melbourne, and Asian tour
Southern Crossings/Empty Land. Curator: Dawn Langley. Camerawork Gallery, London, and U.K tour incl. Stills Gallery, Edinburgh, Angel Row Gallery, Nottingham
Fertile Ground. Curator: Beth Jackson. Griffith ArtWorks Gallery, Griffith University, and tour
Stories of Australian Art, Commonwealth Institute, London, & Usher Gallery, Lincoln (exhibition for Australia's Bicentenary)
South Australia Re-photographed, Adelaide Festival Exhibition, College Gallery
On the Wall, Off the Wall, Centre for Contemporary Art, Santa Fe
9 out of 14, SAW (South Australian Workshop) exhibition, Experimental Art Foundation, Adelaide
Finalists' Exhibition, Benson & Hedges Art Prize, Auckland City Art Gallery and tour
Young Contemporaries Exhibition, Auckland City Art Gallery and tour
Examples of work have been acquired by the following institutions:-
Adelaide Festival Centre
Art Gallery of New South Wales
Art Gallery of South Australia
Canberra Museum and Gallery
Flinders University of South Australia Art Museum
Griffith University, Brisbane
Ian Potter Museum of Art, University of Melbourne
National Gallery of Australia, Canberra
National Gallery of Victoria
Parliament House, Canberra
Queen Elizabeth Hospital, Adelaide
Queensland Art Gallery, Brisbane
Queen Victoria Museum and Art Gallery, Launceston
Riddoch Gallery, Mount Gambier
Writings by author in various publications, including refereed journals or journals with editorial boards, commissioned catalogue essays, and the like.
A. Books, including exhibition books and significant catalogues
B. Book chapters/book entries (including dictionary and encyclopedia entries)
C. Articles in Refereed Journals
D. Visual arts industry writing I: industry booklets and policy documents
E. Visual arts industry writing II: essays and articles
F. Visual arts industry writing III: reviews
G. Visual arts industry writing IV: short catalogue essays, small catalogues
A. Books, including exhibition books and 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.
B. Book chapters/book entries (including dictionary and 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.
C. Articles in Refereed Journals
‘The Digital Corrosion of Postmodernism', Visual Art & Culture Vol. 2, Part 1, 2000, pp.
‘J.M.W. Turner: Witness for our time.' Australian Journal of Art, Vol XIII 1996, pp. 114-132.
D. Visual arts industry writing 1: industry booklets and 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.
E. Visual arts industry writing II: essays and 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,
‘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.
F. 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.
G. 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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Entry last updated: Monday, 4 Jul 2016