Richly illustrated ‘You Can See It From Here’ offers an opportunity for a cumulative examination of Jeremy Kirwan-Ward’s five decades of practice, with essays by John Barrett-Lennard and Margaret Moore.
‘Collecting for the Nation’ details these works – from ceramic cockatoos and hand-painted porcelain to stylish silverware and historic paintings – and the architectural development of each house along with the people who lived in them.
Fifteen years of Stephan Ormandy’s practice is surveyed in Formist’s latest publication. With the first two-thirds of the book devoted to a stream of his colourful, geometric paintings, the title comes to a close with an essay by Lilly Wei.
Now considered in the prime of her painting life after a ‘slow burn’ of some 50 years this monograph is a dedicated showcase of Elisabeth Cummings' ‘visually exciting’ paintings that oscillate between abstraction and representation of the motif.
‘Indigenous Archives’ assembles 18 essays that investigate ‘the archive’ as a struggle with the advent of colonisation, the unusual ways we can use accounts and how they can be empowering or readdressed in visual art.
Set in an evocative tropical landscape haunted by the lives and spirits which drift across it, 'The Pacific Room' by Michael Fitzgerald is both a love letter to Samoa and a lush and tender exploration of artistic creation, of secret passions and merging dualities.
This monograph charts Shane Pickett's development from detailed landscapes influenced by Albert Namatjira to a highly expressive form of gestural abstraction; in an era of contested land and civil rights and the constitutional referendum of 1967.
This book discusses Christian Thompson’s recent exhibition ‘Ritual Intimacy’ and the breadth of his practice, both in the media he employs and in the works he has made for Australian and European contexts.
'Parallel Realities’ presents the expansive and complex history of performance art in Australia from the 1950s to today arguing that our development was shaped by theatre, avant- garde individuals, music, travel, political identity and a reaction against static notions of nationhood.
Place making and inhabitation, Felicity Fenner’s current curatorial research interests, are the focus of this title which should intrigue artists, the public and policy leaders. ‘Running the City’ presents a new way to think about ‘home’ and the paths we cut day-to-day.