SUSAN FEREDAY |
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EDUCATION |
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2006-09 |
PhD, Monash University, Melbourne |
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1990-92 |
Master of Arts (Fine Art) by Research, Deakin University, Victoria College, Prahran Campus, Melbourne |
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1984-86 |
Bachelor of Arts (Fine Art), Victoria College, Prahran Campus, Melbourne |
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1981-82 |
Technician’s Certificate in Photography, Elizabeth College of TAFE, Adelaide |
SOLO EXHIBITIONS |
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2008 |
Under a Steel Sky, West Space, Melbourne |
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2005 |
Ilsley Green Road and Latent Image, Sutton Gallery, Melbourne |
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2002 |
Sally, Sutton Gallery, Melbourne |
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Hole Thing, Bellas Gallery, Brisbane |
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2001-02 |
Remember Me, six installations changing fortnightly, Institute of Modern Art, Brisbane |
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2000 |
Parallel Lives, Sutton Gallery, Melbourne |
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1999 |
A Fleet of Fancies, Bellas Gallery, Brisbane and Sutton Gallery, Melbourne |
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1998 |
Visible Things, Sutton Gallery, Melbourne |
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1996 |
On Paper, Sutton Gallery, Melbourne |
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The Object of Photography, Artspace, Sydney |
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1995 |
The Object of Photography, Sutton Gallery, Melbourne |
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Untitled Found Objects, Bellas Gallery, Brisbane |
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1994 |
The Object of Photography, Institute of Modern Art, Brisbane |
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1993 |
Object a, Experimental Art Foundation, Adelaide and Sutton Gallery, Melbourne |
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1992 |
Ascendant, Anxious Objects, Astonish Me, Linden–St. Kilda Arts Centre, Melbourne |
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1991 |
If You Can’t Take the Heat Get Out of the Kitchen, Room 4, Melbourne |
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1990 |
Win, Store 5, Melbourne |
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Value, 200 Gertrude Street, Melbourne |
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I Am Never Sure of My Place, Platform, Spencer Street Underpass, Melbourne |
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1989 |
Art Fades (1,2,3,4....), Australian Centre for Photography, Sydney |
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1988 |
A Moment’s Hesitation Before She Changes the Expression |
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On Her Face, Linden–St. Kilda Arts Centre, Melbourne |
SELECTED GROUP EXHIBITIONS |
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2009 |
Light Years (curator Maggie Finch), National Gallery of Victoria, Melbourne |
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2006 |
Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund (curator Isobel Crombie), National Gallery of Victoria, Melbourne |
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Recent Acquisitions (curator Jane Scott), Monash Gallery of Art, Melbourne |
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2004 |
Urban/ExUrban (curator Vikki McInnes), TarraWarra Museum of Art, Melbourne |
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2001 |
City Square Xmas Boxes (curator Lyndal Jone), Melbourne City Council |
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Desire (curator Rachel Young), RMIT Gallery, Melbourne |
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2000 |
The Retrieved Object (curator Elizabeth Gower), Linden–St. Kilda Arts Centre, Melbourne |
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1999 |
What John Berger Saw (curator Merryn Gates), Canberra School of Art Gallery, Canberra. Touring to Orange Regional Gallery; Monash University Gallery; University of SA Art Museum; John Curtin Gallery, Perth; Institute of Modern Art, Brisbane |
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1998 |
City of Hobart Art Prize, Carnegie Gallery, Hobart |
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1996 |
Photography is Dead! Long Live Photography! (curator Linda Michael), Museum of Contemporary Art, Sydney |
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The Power to Move: Aspects of Australian Photography, (curator Anne Kirker), Queensland Art Gallery, Brisbane |
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1995 |
Lovers (curator Juliana Engberg), Museum of Modern Art at Heide, Melbourne |
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Suitcase Melbourne City Plaza |
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Palais Lights public slide projections, St. Kilda Festival |
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Postcard Show, Linden–St. Kilda Arts Centre, Melbourne |
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1994 |
Projection: Filming the Body (curator Natalie King), The Basement, Melbourne |
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Don’t Stop (curators Susan Fereday and Shiralee Saul), Linden–St. Kilda Arts Centre, Melbourne; Geelong Art Gallery |
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The Aberrant Object: Women Dada and Surrealism (curator Juliana Engberg), Museum of Modern Art at Heide, Melbourne |
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Read My Lips (curator Shiralee Saul), Ascent Gallery, Melbourne & Union Gallery, Adelaide |
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Group, Sutton Gallery, Melbourne |
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1993 |
Reflex (curator Stuart Koop), Centre for Contemporary Photography, Melbourne, touring to University of Tasmania, Launceston; Australian Centre for Photography, Sydney |
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Luminaries (curators Jenepher Duncan and Natalie King), Monash University Gallery, Melbourne |
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Pure Cinema (curators Rozalind Drummond and Paul Morgan), Charles Williams Gallery, RMIT University, Melbourne |
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City Screens projections onto city buildings (curator Stuart Koop), Melbourne International Festival and Centre for Contemporary Photography, Melbourne |
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Vitae: An Installation Publication #7 (curators Shiralee Saul and James Harley), RMIT Faculty Gallery, Melbourne |
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Parcel Post Show Room 4, Linden–St. Kilda Arts Centre, Melbourne |
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Margaret Stuart Endowment National Gallery of Victoria |
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1992 |
5 x 8, Sutton Gallery, Melbourne |
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Public Spaces: Public Art Personal Vision (curator Kevin Wilson), Linden–St. Kilda Arts Centre, Melbourne |
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Allure, Slide at 200 Gertrude Street, Melbourne |
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Tongue, Platform, Spencer Street Underpass, Melbourne |
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SupermArt (curator Shiralee Saul), Blaxland Gallery, Melbourne |
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Food in Art (curator Debra Tucker), Gallery at Tolarno, Melbourne |
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1991 |
Christmas Tree Forest, Linden–St. Kilda Arts Centre, Melbourne |
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Artists Portraits of Artists, Victorian Centre for Photography |
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Cite, Sight, Site (curator Linda Sproul), Linden–St. Kilda Arts Centre, Melbourne |
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Body Without Organs, First Draft West, Sydney |
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Postcard Show, Linden–St. Kilda Arts Centre, Melbourne |
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1990 |
Amoré with Jeff Gibson and Rosemary Laing (curator Sally Couacaud), Artspace, Sydney |
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Palimpsest (curator Kaye Moorhouse), University of Tasmania, Hobart |
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1989 |
Upfront, Blaxland Gallery, Melbourne |
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Photoaccess, Benefit Link Gallery, Canberra |
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1988 |
St. Kilda Arts Festival, Linden–St. Kilda Arts Centre, Melbourne |
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1987 |
Beatrice Faust Curates: From Boubat to Fereday, Photographers Gallery, Melbourne |
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1986 |
Colour Me Gone, Lighthouse Gallery, Melbourne |
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Prahran Fine Art Graduate Show, Victoria College Gallery, Melbourne |
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St. Kilda Arts Festival, Linden–St. Kilda Arts Centre, Melbourne |
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1985 |
Women 150 Linden Gallery |
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1984 |
Lady Fairfax Selection Exhibition, Art Gallery of NSW, Sydney |
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1982 |
Women’s Art Movement Group Show, WAM, Adelaide |
PUBLICATIONS |
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2008 |
Under a Steel Sky, self-published, 60 pages; with writing by Susan Fereday and Maureyn Brees |
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2006 |
Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, essay by Isobel Crombie, National Gallery of Victoria, Melbourne |
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2004 |
Urban/ExUrban, essay by Vikki McInnes, TarraWarra Museum of Art, Melbourne |
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2001 |
Remember Me, essays by Chris Handran, Institute of Modern Art, Brisbane |
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2000 |
I Fall in Love With a Beautiful Newcomer Hiding a Deadly Secret, self-published, 100 pages |
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Postcard (A Fleet of Fancies), self-published |
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The Retrieved Object, curator Elizabeth Gower, essay by Stuart Koop, Linden Gallery |
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1996 |
Photography is Dead! Long Live Photography!, essays by Linda Michael, George Alexander, Martyn Jolly, Museum of ContemporaryArt, Sydney |
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On Paper, self-published |
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The Object of Photography, essay by Robert Schubert, Artspace, Sydney |
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Book cover and artist's pages, (‘Mother/Nature’), Motherlode, Sybilla Feminist Press, p.118 |
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1995 |
The Power to Move: Aspects of Australian Photography, essay by Anne Kirker, Queensland Art Gallery |
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1995 |
Samstag, University of South Australia |
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Postcard (Work), Linden Gallery |
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1994 |
The Object of Photography, essay Jeffrey Fereday, self-published |
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Postcard Pleasure, Museum of Modern Art at Heide |
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1993 |
Art Right Now: 45 Australian Artists, Discovery Media, Sydney |
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The Aberrant Object: Women, Dada and Surrealism, essays Juliana Engberg, Robyn McKenzie, Kenneth Wach, Anne Marsh, Museum of Modern Art at Heide |
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Postcard (Pleasure), Museum of Modern Art at Heide |
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Reflex, essays Stuart Koop and Geoffrey Batchen, Centre for Contemporary Photography |
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Luminaries, essays Kevin Murray, Donald Brook, Jenepher Duncan, Natalie King, Monash University Gallery |
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City Screens, text Stuart Koop, Centre for Contemporary Photography |
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Illustration (from Object a), Art and Australia, Winter, p.528 |
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Object a, essay Jeffrey Fereday, self-published |
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1992 |
Illustration (Who’s Afraid of Red Yellow and Blue), Art and Australia, Winter, p.492 |
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Illustration (Last Painting tissues boxes), Next Wave Festival Visual Arts Catalogue, p.75 |
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Illustration (Last Painting tissues boxes), Robert Rooney, |
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‘Talent in Store to Beat Blues’ The Weekend Australian, 30 May, p.13 |
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Illustration (SupermArt) Rebecca Lancashire, ‘A Consumer Approach That Challenges Art’, The Age, 15 May, p.12 |
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Ascendant, Anxious Objects, Astonish Me, essays Jeffrey Fereday and Carolyn Barnes, published by the artist |
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1991 |
Cite, Sight, Site, Linden Gallery |
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Magazine cover, ‘Think’, Agenda #18 |
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Four Postcards, (Art is a Special Way of Thinking, Another Masterpiece, Ask Me About the Meaning, Art is Safe), self-published |
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1990 |
Amoré, essay Ted Colless, Artspace, Sydney, Palimpsest, University of Tasmania Gallery |
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Artist’s Page Set Sub Set, An Installation Publication, Issue #1 |
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Artist’s pages, Rebus #2, pp.20-23 |
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Artist’s pages, Art & Text #36, pp.74-75 |
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Illustration Value, Art and Australia, Winter, p.614 |
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Value, with text Brenda Ludeman, 200 Gertrude Street |
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1989 |
Art Fades (1,2,3,4....), Australian Centre for Photography |
REVIEWS |
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2008 |
Ella Mudie ‘Double exposure for faded images,’ The Age A2, 30 August, p.17-18 |
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Robert Nelson ‘Memories lie beyond the surface,’ The Age, 25 June, p.16 |
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2005 |
Penny Webb, ‘Following the Customs of the Country’, The Age, 1 March, p.17 |
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2002 |
Ihor Holubisky, 'Susan Fereday at Brisbane’s Institute of Modern Art', Art + Australia, Summer 2002, pp 234-235 |
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Sandra McLean, 'Luxury of a little space', feature article, Brisbane Courier Mail, 8 March, p.15 |
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1999 |
Robert Nelson, 'Art of meaning and bafflement', The Age, 15 September, p.16 |
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1998 |
Anna Clabburn 'Restoring our faith in those ordinary things', The Age, 22 July, p.17 |
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1997 |
Christopher Chapman ‘Sculpture, snapshots’, Photofile, April, p.31-32 |
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1996 |
Margaret Morgan ‘Photography is dead! Long live photography!’, Art + Text #55, pp.91-92 |
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Jacqueline Millner ‘Photography is dead! Long live photography!’, Globe e journal, issue #4 |
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Freda Freiberg ‘On Paper’, The Age, 26 June, p.21 |
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Anne Marsh ‘Works shed new light’, Herald Sun, 12 June, p.54 |
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1995 |
Robert Schubert ‘Susan Fereday: Sutton Gallery’, Art + Text #52, p.91-82 |
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Robert Rooney, ‘Stenopaeics, Susan Fereday’, The Australian, 26 May, p.48 |
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Robert Nelson, ‘Installation poking at hole in halo’, The Age, 17 May, p.21 |
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Anne Marsh, ‘Pinhole shows focus on narrow views’, Herald Sun, 17 May, p.60 |
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1994 |
Denise Robinson, ‘The Aberrant Object’, Agenda, #37, July, pp.23-25 |
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Anna Clabburn, ‘The Aberrant Object’, World Art, Vol.1 #2, p.100 |
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Susan McCulloch, ‘Objects of desire’, Herald-Sun, 4 May, p.63 |
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Stephanie Bunbury, ‘The Monstrous Feminine’, The Age, Saturday Extra, 2 April, p.10 |
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Tom Nicholson, ‘Window (The Aberrant Object)’, Farrago April/May, p.12-13 |
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Linda Williams, ‘The Aberrant Object’, Art + Text #48, p.74 |
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Barbara Creed, ‘The Aberrant Object: Women Dada and Surrealism’, Art Monthly #69, pp.10-12 |
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Zara Stanhope, ‘Reflex’, Art + Text #48, p.75 |
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May Lam, Ann Howie, Andrea McLaughlin, Andrew James Conquest ‘Reflex’, Artfan #2, p.27 |
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Rohan Storey, ‘The City Screen’, Monument: Architecture magazine, #2, April, pp.61-67 |
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Robert Schubert, ‘City Screens’, Art + Text #47, pp.79-80 |
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1993 |
Greg Neville, ‘Conditioned reflex, but students lively’, The Age, 15 December, p.17 |
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Greg Neville, ‘Two views at odds’, The Age, 25 June, p.15 |
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Susan McCulloch, ‘Works of women on show around town’, Herald-Sun, 11 June, p.63 |
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1992 |
Stuart Koop, ‘Review: Susan Fereday’, Art & Text #43, pp.78-79 |
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Robert Nelson, ‘Installations: Ascendant, Anxious Objects, Astonish Me’, Agenda #24, p.22 |
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Jeffrey Fereday, ‘SupermArt’, Agenda #24, pp.24-25 |
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1991 |
Alex Selenitsch, ‘Susan Fereday, Lyndall Milani, Marie Sierra-Hughes, Agenda #20/21, p.42 |
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Patricia Piccinini and Peter Hennessey, ‘Cite, Sight, Site’, Eyeline #16, p.41 |
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Christopher Heathcote, ‘Battlers can learn from Whisson’’ The Age, 6 March, p.14 |
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1990 Rex Butler, ‘A love that cannot speak its name’, Agenda #15, p.19 |
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Catherine Lumby, ‘Dino puts his finger on it’, Sydney Morning Herald, 23 November, p.12 |
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Patricia Piccinini and Peter Hennessey, ‘Value, Eyeline #12, pp.43-44 |
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Carolyn Barnes, ‘Value’, Agenda #10, pp.22-23 |
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Beatrice Faust, ‘Intimacy of best mates’’ The Age, 13 February, p.14 |
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Campbell Thomson, ‘Seeing is deceiving’, The Herald, 6 February, p.13 |
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1989 |
Janet Shanks, ‘Young, Lethbridge, Fereday’, Photofile, Winter, pp.28-29 |
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1988 |
Carolyn Barnes, ‘Vacant/Possession’, Photofile, Autumn, pp.22-23 |
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Terry Smith, ‘Chicago plays the game she denies’ Times On Sunday, 24 January, p.31 |
COLLECTIONS |
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Australian National Gallery |
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National Gallery of Victoria |
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Queensland Art Gallery |
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Monash Gallery of Art |
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Mornington Peninsula Regional Gallery |
AWARDS/GRANTS |
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2007 |
Australia Council, Visual Arts/Craft Board, New Work Grant |
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2007 |
Studio residency for two months, Cité Internationale des Arts, Paris |
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2006-09 |
Australian Postgraduate Allowance Scholarship |
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2002 |
Australia Council, VACB, New Work Grant |
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Arts Victoria, Arts Development, New Work Grant |
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Ian Potter Cultural Trust, Equipment Grant |
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2001-02 |
Studio residency for three months, Institute of Modern Art, Brisbane |
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1999 |
Australia Council, Visual Arts/Craft Board, Artist Development Grant |
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Artist in residence, Noosa Regional Gallery |
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1996 |
Studio residency for six months, Cité Internationale des Arts, Paris |
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1995 |
Anne and Gordon Samstag Scholarship, University of South Australia |
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1992 |
Australia Council, VACB, Artist Project Grant |
WRITING BY THE ARTIST |
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2008 |
‘Under a Steel Sky’ poetic text, for book launched with exhibition at West Space |
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2006 |
‘Wired World’ catalogue essay, Simon Maidment and Paul Shepherd, Conical Gallery |
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1996 |
‘Ruins in Reverse’ catalogue essay, RMIT Gallery, Storey Hall |
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1995 |
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1994 |
‘Ipso Photo’ catalogue essay, with Stuart Koop, CCP |
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‘Don’t Stop’ mail-order catalogue, Linden Gallery |
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‘Jemmy’, group exhibition, Adelaide, Agenda #36 |
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1993 |
‘Mathew Jones: Poof! Review’, Art Fan #1, p.22 |
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‘Portraits of Pleasure’, Kent Morris exhibition, Agenda #33, p.8 |
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‘Arranging Nature’, catalogue essay, CCP |
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‘Immortality’, catalogue essay, CCP |
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1992 |
‘After the Fact’, catalogue essay, VCP |
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‘Elvis Lives!’ Polixeni Papapetrou exhibition, Agenda, #20/21, p.41 |
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‘Claim’, June Savage exhibition’, Eyeline #16, pp.34-35 |
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‘Ills Caused By Love and Desire’, Chris Koller exhibition, Agenda, #18, p.10 |
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1990 |
‘Photography in the art museum’, Agenda, #13/14, p.3 |
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‘Looking’, catalogue essay for Graeme Hare Exhibition at ACCA |
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1989 |
‘Witness’, Linda Jullyan exhibition, Agenda, #9, p.26 |
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‘Stuck in the approximate’, Sue Ford exhibition, Agenda #5, pp.26-27 |
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1988 |
‘The Moment of Sainthood’, Rose Farrell & George Parkin exhibition, Agenda, #3, pp.20-21 |
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‘Before the winter gardens’, Chris Koller exhibition, Photofile, Autumn, pp.20-21 |
CURATED BY THE ARTIST |
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1996 |
Ruins in Reverse. Lauren Berkowitz, Adam Boyd, Colin Duncan, Hewson/Walker, Shaun Kirby, Christopher Langton, Callum Morton, Rose Nolan, Deborah Ostrow, Kathy Temin, Chris Ulbrick, Chris White, Constanze Zikos. 14 artists employ unorthodox and prosaic materials in works which reference and undermine historical moments of aesthetic purity and interact with RMIT Gallery’s radically renovated interior. RMIT Gallery at Storey Hall, Melbourne |
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REVIEWS |
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Anne Marsh, ‘Gallery of ruins’, Herald Sun, 17 April, p.56 |
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Lawrence Money, ‘They’re flat out trying to help’, The Sunday Age, 21 April, p.20 |
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Anna Long, ‘Irreverent trip to creative ruins’, Business Review Weekly, 22 April, p.130 |
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Robert Rooney, ‘Ruins in Reverse’, The Australian, 10 May, p. |
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Colin Simpson, ‘Youth, energy, and a “Victorian” relic’ The Bulletin, 14 May, p.76 |
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Robert Nelson, ‘No logic, no feeling’, The Age, 18 May, p.10 |
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Peter Timms, ‘Similarity breeds contempt’, Herald Sun, 22 May, p. |
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Peter Hill, ‘The Next Wave, nightclubs, and surrounding islands’, Art Monthly Australia, July, p.12 |
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Lewis Ryan, ‘MDF I Luv You’, Broadsheet, Vol.25 No.3, Spring, pp.22-23 |
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Robert Schubert. ‘Ruins in Reverse’, Art + Text, #55, pp.93-94 |
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1995 |
Likeness 46 photographs selected from the Waverley City Gallery, Monash City Council collection assembled around similarities in composition and subject matter. Most of the photographs are by men, most of the subjects are men, streets, sports, buildings, deserts, rocks. Is visual concord the archive’s refrain? Centre for Contemporary Photography |
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Reviews |
Freda Freiberg, ‘Life in the likeness of the Australian male’, The Age, 25 April |
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Victoria Harrison, ‘Likeness’, Melbourne Weekly, 25 April, p.11 |
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Anne Marsh, ‘Real life images go snap, Daryl, and pop’, Herald Sun, 5 April, p.65 |
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A Small History of Photography: Lectures |
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1994 |
Ipso-Photo (co-curated with Stuart Koop). Margaret Roberts, Chris Fortescue, Marie Sierra-Hughes, Phillip Watkins. The influence of the camera’s privileging vision on recent sculptural works. Four installations critique photography’s relationship with subjectivity and power. Centre for Contemporary Photography |
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Review |
Scott McGuire, ‘Ipso photo’, Agenda, #41, March, p.13 |
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Don’t Stop (co-curated with Shiralee Saul). Exhibition and mail-order catalogue. Thirty artists contribute art multiples displayed in an environment resembling an upmarket boutique to stimulate discussion on art as commodity. Linden-St. Kilda Arts Centre; touring to Geelong Art Gallery, Shepparton Art Gallery. Mail-order catalogue circulating throughout Australia. |
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Reviews |
Jenny Zimmer, ‘Crafts advance in leaps and bounds’, The Age, 28 December, p.17 |
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G.Tresoldi, M.Morgan, N.Good, C.Forsey, M.McInnes, D.Frei, S.Forsey, T.Andreatta, S.Kinnear, Art Fan, #3/4, November, pp.38-39 |
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Jenny Zimmer ‘Objects bizarre that became objects with a function’, The Age, 19 July, p.19 |
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S.Fereday & S.Saul, ‘Multiples for Sale’, Artlink ,Vol 14 #2, Winter, pp.13-14 |
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Photography Post Photography: Lectures |
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1993 |
Arranging Nature. June Savage, Liz Butler, Gillian Dallwitz, James Packer, Tony Nott, Naomi Kumar, Donna Larcom. Sculptural and installational works using photographic imagery to explore nature as visual construct. Centre for Contemporary Photography; touring to University of Tasmania, Launceston; Warrnambool Art Gallery; Mildura Art Centre; Shepparton Art Gallery, Sale Regional Arts Centre; Albury Regional Arts Centre, Waverley City Gallery |
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Review |
Anne Marsh, ‘Waverley in picture’, Herald Sun, 29 November, p.47 |
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Immortality Rose Farrell & George Parkin, Jeff Gibson, Chris Tabecki, Polixeni Papapetrou, Heather Fernon, Kevin Wilson. Borrowing its title from Milan Kundera’s novel, 'Immortality' looks at masculine desire and the status of hero in popular culture. Centre for Contemporary Photography |
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Reviews |
Tim Mathieson, ‘Immortality’, Agenda, #32, July, p.30 |
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Greg Neville, ‘Drab images fail to speak on male identity’, The Age, 29 April, p.16 |
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1992 |
After the Fact Photographs from the Melbourne police forensic archive depicting the vacant scenes of crimes. Photography as a tool of detection, fascination and disputed truth. Victorian Centre for Photography; touring to Union Gallery, University of Adelaide; University of Tasmania Gallery, Launceston |
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Reviews |
Peter Timms, ‘It beats Sydney by a mile’, Art and Australia, Winter, p.32 |
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John Neylon, ‘Discursive torture’, The Adelaide Review, March |
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Richard Grayson, ‘After the Fact’, Photofile, #38, p.4 |
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Robert Rooney, ‘Following in Piero’s footsteps’, The Weekend Australian, 7-8 November, p.13 |
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Greg Neville, ‘Blowing up the myth of truth’, The Age, 9 October, p.14 |
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Website |
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