Art Journal & Magazine Articles

by Professor Anne Marsh



‘Marina Abramovic: Mindful Immateriality’,

Artlink, Vol 35, No. 3, September 2015, pp. 18-23. https://www.artlink.com.au/


‘Nasim Nasr: The Language Behind the Veil’,

Broadsheet: Contemporary Visual Art + Culture, vol. 44, no. 1, 2015, pp. 40-43. http://www.cacsa.org.au/?page_id=3290


Estelle Barrett, Barbara Bolt, Gil Dwyer and Anne Marsh,

‘Experimental to Experimental — Mildura Palimpsest Biennale # 9, Eyeline Contemporary Visual Arts, no. 81, 2014, pp. 51-55. http://www.eyeline.qut.edu.au/home.htm


‘Political Interventions and Relational Aesthetics’,

Eyeline Contemporary Visual Arts, no 80, 2013/14, pp. 57-65. http://www.eyeline.qut.edu.au/home.htm


‘A History of Performance Art in Australia’,

Art & Australia, vol. 50, no. 3, 2013, pp. 414-419. http://www.artandaustralia.com/archive


‘Edel Weiss/Idle Vice: The Propositions’,

Art & Australia, vol. 50, no. 3, 2013, pp. 420-425. http://www.artandaustralia.com/archive


‘Sex, Death and Religion: Touring MONA’,

Eyeline Contemporary Visual Arts, no 76, 2012, pp. 30-33. http://www.eyeline.qut.edu.au/home.htm


‘Surveillance Art: Genre and Political Action’,

Artlink, special issue on surveillance, Vol 13, no. 3, September 2011, pp. 55-58. https://www.artlink.com.au/


Anne Marsh and Ashley Crawford,

‘Inside the Zombie Birdhouse’, Photofile, no. 90, 2010, pp. 26-33.


Anne Marsh and Jessica Whyte,

‘Photography as a Crime: Mapping Anxiety in the Public Sphere’, Art Monthly, no 235, November 2010, pp. 17-20.


‘The Digital Menace’,

Photofile, no. 91, 2010, pp 52-57.


‘Photography Now: The National Portrait Prize’,

Photofile , no. 87, 2009, pp. 46-53.


‘Extreme Acts: Live, Remade, Remediated’,

Eyeline Contemporary Visual Arts no. 69, 2009, pp. 37-42. http://www.eyeline.qut.edu.au/home.htm


‘This Painting is not a Photograph: recent works by David Jolly’,

Eyeline Contemporary Visual Arts, no. 67, summer 2008/9, pp. 51-53. http://www.eyeline.qut.edu.au/home.htm


‘Stepping In (A Feminist Context)’,

Broadsheet Contemporary Visual Arts + Culture, vol 36, no. 4, 2007, pp. 248-251. http://www.cacsa.org.au/?page_id=2202


‘Art History in a Post-Medium Age’,

Artlink, vol 26, no. 1, March 2006, pp. 41-45. https://www.artlink.com.au/


‘Claudia Terstappen: A Language of the Sacred’

Eyeline Contemporary Visual Arts, no. 59, Summer 2005-2006, pp. 30-31. http://www.eyeline.qut.edu.au/home.htm


‘Piercing the Subject: 21C Anxiety in the Works of David Rosetzky’,

Eyeline 57, Winter 2005, pp. 16-18. http://www.eyeline.qut.edu.au/home.htm


‘Lily Hibberd: A Painters Cinema’,

Eyeline, no. 55, Spring 2004, pp.


‘Pat Brassington: Uncanny Witness’,

Art and Australia, vol. 41, no. 4, Winter 2004. pp. 586-592. http://www.artandaustralia.com/archive


‘Blood and Death: The Recent Body Art of Jill Orr’,

Art Monthly, no. 158, 2003, pp. 22-23.


‘Light Writing Desire and Other Fantasies’,

Eyeline, no. 46, Spring 2001, pp. 32-37.


‘The Future of Art History: The Discipline in an Expanded Field’,

Art Monthly, no. 133, September 2000, pp. 8-10.


‘Ian de Gruchy's Magic Screens and Digital Projections’,

Eyeline, no. 43, Spring 2000, pp. 28-32.


‘Faking It: Notes on Interpretation’,

Antithesis, special issue 'Sex 2000', vol 11, 2000, pp. 32-40.


‘Gordon Bennett: An Menace in Australian History’,

Eyeline, no. 41, summer 1999/2000, pp. 24-27.


‘Public Park: A Gendered Performance’,

Art and Australia, vol 36. no. 4,1999, pp. 494-501. http://www.artandaustralia.com/archive


‘Peter Kennedy: Poetics, Politics and a Silent Music’,

Globe, electronic journal, no. 8, 1998: http://www.artdes.monash.edu.au/globe/issue8/pk1txt.html


‘Shot by both Sides: The Death of the Rock Star as an Original’,

World Art, issue 19, 1998, pp. 48-52.


‘Requiem Chorus: Peter Kennedy's Millennium Opus’,

Eyeline, no. 36, Autumn/Winter 1998, pp. 31- 36.


‘Forgotten Spaces and Hysteric Poses: Performative Installations by Jay Younger’,

Eyeline, no. 34, Spring, 1997, pp. 23-26.


‘Un-mapped: The Political Dialogue of an Artist (Peter Kennedy)’,

Globe, electronic journal, no. 1, 1995: http://www.artdes.monash.edu.au/globe/pktxt.html


‘The Body Terrorists: Karen Finley and Linda Sproul, Acting-Up’,

World Art, no. 1, March 1994, pp.66-70.


‘Identity, Difference & Domination’,

Museums Australia Journal, vols. 2-3, 1991-1992, first published 1993, pp. 231-234.


‘Wicked Women in Performance’,

Agenda: Contemporary Art, November, 1992, pp. 45-52.


‘Performance Art in the 1970s’,

Art and Australia, vol. 21, no. 3, Autumn, 1989, pp. 412-418. http://www.artandaustralia.com/archive


‘Ritual in Performance Art: Another Modernist Myth or a Postmodern Shift’,

Eyeline, no. 8, March, 1989, pp. 10-11.


‘Remembering: Performance and Photography’,

Spectator Burns: Performance/Theory, no. 3, 1989, pp. 55-58.


‘Body Art, In and Against Itself: A Psychoanalytic Reading on Narcissism and Aggressivity’,

Agenda: Contemporary Art, vol. 1, no. 2, 1988, pp. 7-9.


‘The Interception of Feminism and Performance Art in the 1970s’,

Agenda: Contemporary Art, vol. 1, no. 2, 1988, special supplement - ‘ART: The Present and Recent Past of Australian Art and Criticism’, pp. 10-12.

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

Address

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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