Exhibition Catalogue Essays

by Professor Anne Marsh



‘Unstable Moments’,

Mira Oosterweghel, Metro Arts, Brisbane, 2015. https://metroarts.com.au/wp-content/uploads/2015/04/Unstable-Moments-Catalogue-FINAL_WEB.pdf


‘Performance Presence/Video Time’

Adelaide Experimental Art Foundation, April 1 – May 16, 2015. http://www.aeaf.org.au/exhibitions/ppvt.html


‘Freedom Fighter’,

Notes to GB, Sutton Gallery Nov/Dec 2014, no pagination.


‘The Valley’

in Mark Kimber: Side Show Valley, Stills Gallery, Paddington, NSW, 2014, no pagination. http://www.markkimber.net/sideshowvalleyCE.html


‘Night Garden’,

in Jenny Bolis, Night Garden, artist’s book short essay, December 2013, no pagination.


‘Pat Brassington: Small Things’,

in Emma Matthews (ed.), 25 Years of the Willow Collection of Australian Art 1988-2013, Hawthorn East, Victoria: Willow Group Pty Ltd, 2013, pp.100-101.


‘A Performative Paradox’,

in Polixeni Papapetrou: A Performative Paradox, exhibition catalogue, Fitzroy: Centre for Contemporary Photography, 2013, pp. 4-7. http://www.ccp.org.au/docs/catalogues/Polixeni-Papapetrou.pdf


‘Archives and People’,

in Janine Burke (ed.), On the Road: Personal View 1978-1986, Monash University Publishing, 2011.


‘Sonia Payes: Luminous Interlude’,

catalogue essay, Fehily Contemporary, Collingwood, September 2011, no pagination. http://www.soniapayes.com/essay_review/sonia-payes-studies/


‘Avoca’s Children: The Class of 2009’

catalogue essay for Jill Orr: Vision, Jenny Port Gallery, Richmond, 2 June – 3 July, 2010, no pagination.


‘Thinking Performance Art’,

catalogue essay for Once More with Feeling, Victorian College of the Arts Margaret Lawrence Gallery, 23 April-23 May, 2009, pp 7-11.


‘Dena Lester: Ghostly Accidents',

gallery 101, Melbourne September 2008, on pagination.


‘The Shadowers: Haunting the Real’,

Monika Tickacek, Karen Woodbury Gallery, Melbourne International Art Fair, 31 July – 3 August, 2008, pp. 18-23. http://kwgallery.com/cms/resources/Monika%20Tichacek%20formatted.pdf


‘Shane Fitzgerald: Light Painting’,

in Capricornia: Between the Sublime and the Spectacular – the Photographic Art of Shane Fitzgerald, Artspace MacKay, Qld, 2006, pp. 23 – 27.


‘Heaven and Hell’,

Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, 2006, pp. 30-31.


'Anxious Bodies',

Linden Art Gallery, 2006, no pagination.


‘A Language of the Sacred: The Photography of Claudia Terstappen’,

Places of Worship: Claudia Terstappen, Faculty of Art & Design Gallery, Monash University, 2005 np.


‘Blackspot: Contemporary Indigenous Photography’,

Monash University Museum of Art, selected wall texts, July-August 2004.


‘Cherry Hood: Ayesha’s Child’,

ARC One Gallery, November 2004, np.


‘Kristin Headlam: The Painter and the Photograph’,

Kristin Headlam: News, Richmond: Charles Nodrum Gallery, 2003.


‘Synthetic Histories and Fantastic Worlds’,

The Synthetic Image, Faculty of Art and Design Gallery, Caulfield, 2002.


‘Peter Kennedy: An Avant-Garde Practice’,

Peter Kennedy: Selected Works 1970-2002, The Ian Potter Museum of Art, the University of Melbourne, 2002, pp. 3-8.


‘Through a Veil Brightly: Recent Works by Deborah Paauwe’,

Double Dutch, Greenaway Art Gallery, Adelaide, 2002, no pagination (1,000 words). http://kwgallery.com/cms/resources/Monika%20Tichacek%20formatted.pdf


‘Dumb Desire: A Second Nature - Fiona Macdonald talks with Anne Marsh’,

interview, Second Nature, Monash University Museum of Art (Project Room), 2001, no pagination.


‘Light Writing Desire and Other Fantasies’,

Telling Tales: The Child in Contemporary Photography, Monash University Gallery, 2000, no pagination (2,600 words).


‘Experimental Art: An Impossible Profession’,

Diary of a Dead Beat Modern Art Type: Gary Willis, 1972-1982, Melbourne: Gulag Publishing, 2000, pp. xii-xi.


‘Forward’,

Jason Keats: white-wash/black leather shine, Adelaide: Experimental Art Foundation, 2000.


‘Rosemary Laing: Performing Photographs’,

Seppelt Contemporary Art Award, exhibition catalogue Museum of Contemporary Art, Sydney, 1998, pp. 10-13.


‘Faking It: Notes on Interpretation’,

catalogue essay for Polixeni Papapetrou, exhibition catalogue, Curated Bodies, Centre for Contemporary Photography, August-September, 1996, no pagination. http://www.polixenipapapetrou.net/essay/faking-notes-interpretation/


‘Linda Sproul’, Australian Perspecta 1995,

exhibition catalogue, Art Gallery of New South Wales, Sydney, 1995, pp. 86-87.


‘The Bride and the Bachelors’,

Jill Orr: Raising the Spirits, exhibition catalogue, Museum of Modern Art at Heide, September 1994, no pagination.


‘Of Bodies and Mythologies’,

exhibition catalogue The Aberrant Object: Women/Dada and Surrealism, Museum of Modern Art at Heide, March/April, 1994, pp. 33-37.


‘Chorus: From the Breath of Wings’,

Fifth Australian Sculpture Triennial, FAST review-essay, exh. cat., vol. 2, 1993.


‘The Archival Body’,

Elizabeth Bodey: Periodic, An Installation, 200 Gertrude Street, Friday 5-Saturady 27 February 1993.


‘Desire and Discontent’,

Off the Wall, In the Air, exhibition catalogue, Australian Centre for Contemporary Art, Melbourne, 1991.


‘The 'I' in the Gaze: Aspects of the Body and Self in Performance Works by Jill Orr’,

exhibition catalogue, Jill Orr Retrospective, Australian Centre for Contemporary Art, 1989, no pagination.

About Anne Marsh

Anne is Professorial Research Fellow at the University of Melbourne's Victorian College of the Arts. Professor Anne Marsh's research areas include:

Photography, Performance Art, Feminism and Postmodernism.

Latest Projects

Doing Feminism / Sharing the WorldUpdate Updated 31 Jul 2017

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Professor Anne Marsh
Faculty of the Victorian College of the Arts & Melbourne Conservatorium of Music
The University of Melbourne
234 St Kilda Road
SOUTHBANK VICTORIA AUSTRALIA 3006

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