Trace: Performance and Its Documents
Eyeline Contemporary Visual Arts, no. 82, 2015, p. 73.
Framed Movements
Artlink, vol. 34, no. 4, 2014, p. 69.
The Conversation, Arts + Culture, 29 November 2013
Andrew Best: Fall Series
FOAM: International Photography Magazine, #29, Winter 2011/2012.p. 82 (pictures pp. 75-81).
Mike Parr: Close the Concentration Camps
The Monthly, October 2011, p. 44.
Heather Betts: Raison D’Être
Eyeline Contemporary Visual Arts, 2011, p.
RE-making Gender Trouble – A Deconstruction
Eyeline Contemporary Visual Arts, no 73, Summer 2011, p. 85.
Jill Orr: Southern Cross to bear and behold – Burning
FOAM International Journal of Photography, November 2010, p.
Frosch, Paul, The Image Factory: Consumer Culture, Photography and the Visual Content Industry
Berg, Oxford and New York, 2003’, book review, Media International Australia, no. 115, May 2005, pp. 141-142.
The Plot Thickens: Narratives in Australian Art
Photofile, no. 73, Summer 2005, p. 73.
Value Added Goods (book review)
Photofile, no. 68, April 2003, p. 77.
Erotic Ambiguities: The Female Nude in Art by Helen McDonald
LIKE, no. 16, 2001, pp. 15-17.
Julia Margaret Cameron, Victorian Photographs – Annals of my Glass House
Photofile, May 2002, p. 61.
in n.paradoxa: international feminist art journal, 2000, on-line version at:
Margaret Trail, K-Ting, presented as part of Mixed Metaphor: A Season of Multi-Form Works at Dancehouse
LIKE magazine, no. 13, Summer 2000, pp. 57-58.
Jeff Kleem: Industrial Division. Rebecca Cummins and Rosemary Laing: Envisioned
EyelineContemporary Visual Arts, 35, Summer 1997/1998, pp. 41-42.
Afterimage: Painting and Photography
World Art, no. 3, 1996, p. 91.
Into the Black Hole
Art Monthly, no. 84, October 1995, pp. 9-10.
Once More with Feeling
Real Time: Performance and the National Arts, Feb-March, 1995, pp. 19-20.
A Political Cartography: Peter Kennedy's Drawings
Arena Magazine, no. 14, December/January, 1994-95, pp. 28-31, 600 words (ISSN 1039-1010).
Geoff Kleem, Art & Text
no. 49, September, 1994, p.76.
Myths and Narratives
Art Monthly, no. 47, March 1992, pp. 21-23.
Bodies and Reality: Made Real
Agenda: Contemporary Art, October 1992, pp. 36-7.
A Veiled Discourse: Rosslynd Piggott at the Ian Potter Gallery
Photofile, no. 30, 1990, pp. 44-6.
Field of Vision: Veil of Tears
Australian Women's Book Review, vol. 2, no. 4, 1990, pp. 26-7.
Terri Bird
Imprint, vol. 25, no. 3, 1990, pp. 6-7.
European Installations in Melbourne and Brisbane
Antithesis, vo. 2, no. 2, 1988/9, pp. 41-5.
Blinding Optimism
Agenda: Contemporary Art, no. 5, June 1989, pp. 24-5.
A Deafening Silence
Agenda: Contemporary Art, vol. 7, no. 8, October 1989, p. 18.
