anne marsh

© 2020 Professor Anne Marsh, All Rights Reserved.

Professor Anne Marsh


Since 1990 Anne has published widely in edited books, refereed journals and art magazines in Australia, and has written numerous exhibition catalogue essays for artists as well as regularly reviewing artist’s exhibitions in newspapers and art journals. Her essays have been cited in the fields of art history, visual culture, performance studies, theatre studies, and film and video studies.

  • Art Journal & Magazine Articles
    Thresholds of Other Worlds: Jill Orr’s Ritual Performances Eyeline Contemporary Visual Arts, No. 90, 2018, pp. 52-61.
    Art and Feminism: Generations and Practice Artlink, Positioning Feminism, Vol. 37, No. 4, 2017, pp. 8-21.
    Provocation Art+Australia, 2016. View
    Mike Parr: Foreign Looking Artlink, on-line, (3000 words) accessed 12/09/16 View
    Marina Abramovic: Mindful Immateriality Artlink, Vol 35, No. 3, September 2015, pp. 18-23.
    Nasim Nasr: The Language Behind the Veil Broadsheet: Contemporary Visual Art + Culture, vol. 44, no. 1, 2015, pp. 40-43. View
    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. View
    Political Interventions and Relational Aesthetics Eyeline Contemporary Visual Arts, no 80, 2013/14, pp. 57-65. View
    A History of Performance Art in Australia Art & Australia, vol. 50, no. 3, 2013, pp. 414-419. View
    Edel Weiss/Idle Vice: The Propositions Art & Australia, vol. 50, no. 3, 2013, pp. 420-425. View
    Sex, Death and Religion: Touring MONA Eyeline Contemporary Visual Arts, no 76, 2012, pp. 30-33. View
    Surveillance Art: Genre and Political Action Artlink, special issue on surveillance, Vol 13, no. 3, September 2011, pp. 55-58. View
    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. View
    This Painting is not a Photograph: recent works by David Jolly Eyeline Contemporary Visual Arts, no. 67, summer 2008/9, pp. 51-53. View
    Stepping In (A Feminist Context) Broadsheet Contemporary Visual Arts + Culture, vol 36, no. 4, 2007, pp. 248-251. View
    Art History in a Post-Medium Age Artlink, vol 26, no. 1, March 2006, pp. 41-45. View
    Claudia Terstappen: A Language of the Sacred Eyeline Contemporary Visual Arts, no. 59, Summer 2005-2006, pp. 30-31. View
    Piercing the Subject: 21C Anxiety in the Works of David Rosetzky Eyeline 57, Winter 2005, pp. 16-18. View
    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. View
    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. View
    Peter Kennedy: Poetics, Politics and a Silent Music Globe, electronic journal, no. 8, 1998: View
    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.
  • Exhibition Catalogue Essays
    Amos Gebhardt Divided Worlds Adelaide Biennale 2018, Adelaide: Art Gallery of South Australia, 2018, p. 54.
    Unstable Moments Mira Oosterweghel, Metro Arts, Brisbane, 2015. View
    Performance Presence/ Video Time Adelaide Experimental Art Foundation, April 1 – May 16, 2015. View
    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. View
    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. View
    Archives & 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. View
    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. View
    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 & 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 & the Photograph Kristin Headlam: News, Richmond: Charles Nodrum Gallery, 2003.
    Synthetic Histories & 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). View
    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 & 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. View
    ‘Linda Sproul’, Australian Perspecta 1995 Exhibition catalogue, Art Gallery of New South Wales, Sydney, 1995, pp. 86-87.
    The Bride & the Bachelors Jill Orr: Raising the Spirits, exhibition catalogue, Museum of Modern Art at Heide, September 1994, no pagination.
    Of Bodies & 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 & 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 & Self in Performance Works by Jill Orr Exhibition catalogue, Jill Orr Retrospective, Australian Centre for Contemporary Art, 1989, no pagination.
  • Chapters in Books
    ‘A Brief History of Performance Art at the George Paton Gallery’, in Janine Burke and Helen Hughes (eds.), Kiffy Rubbo: Curating the 1970s, Melbourne & London: SCRIBE, 2016, pp. 123-132.
    ‘Mike Parr: Performance, Ontology, Revolt’, in Elspeth Pitt and Roger Butler (eds.), Mike Parr: Language and Chaos, National Gallery of Australia, Canberra, 2016, pp. 70-83.
    ‘Performance Art—Live and on Screen’, in Adam Geczy (ed.), What is Performance Art?, Sydney: Power Publications, 2015.
    ‘Einhorn unter Tauben’, in Angela Stief (ed.), Leigh Bowery: Verwandlungs-künstler, Bern/Wein: Piet Meyer Verlag, 2015, pp. 161-207 [‘A Unicorn among Pigeons’, Angela Stief (ed.), Leigh Bowery: Transfiguration-artist, Bern/Vienna: Pet Meyer Publishing.
    Anne Marsh and Alex Heller-Nicholas, ‘Bill Henson and the Polemics of the Nude Child in Photography’, in Anne Marsh, Melissa Miles and Daniel Palmer (ed.), The Photographic Threat: Privacy, Paranoia and Public Space, Intellect, 2015, pp. 82-99.
    ‘Artist Run and Self-Organised: Some Speculations and Dichotomies’ in Laura Castagnini and Vikki McInnes (ed.), BUREAU 2, South Bank: Margaret Lawrence Gallery, Victorian College of the Arts 2014, pp. 19-22.
    ‘Relations: Video / Performance / Document’, in Matthew Perkins (ed.), Video Void: Australian Video Art 1970s-2010s, Australian Scholarly Publishing, 2014, pp. 111-130.
    ‘Mike Parr: Performance, Ontology, Revolt’, in Synne Genzmer and Lucas Gehrmann (eds), Mike Parr: Edelweiss, Kunsthalle Wien/Verlag für Moderne Kunst Nürnberg, pp. 180-192, 2012.
    ‘The Power of Presence in a Remediated Past’, Column, Sydney: Artspace Publishing, 2012, pp. 51-56.
    ‘Peter Kennedy: But the Fierce Blackman’, in Michele Helmrich (ed.), NEWv2: Selected Recent Acquisitions 2009-2011, University of Queensland Art Museum, St Lucia, Queensland, 2012, pp. 22-23.
    ‘Julie Rrap: 360° Self Portrait, in Michele Helmrich (ed.), NEWv2: Selected Recent Acquisitions 2009-2011, University of Queensland Art Museum, St Lucia, Queensland, 2012, pp. 38-39.
    ‘Art, Power and Representation’, in Geraldine Barlow, Max Delany and Kyla McFarlane (eds.), Change: Monash University Museum of Art, 2010, pp. 89-119.
    ‘Mirror with a Memory: Motel Room’, in Natalie King (ed.), Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Heide Museum of Contemporary Art and Schwartz City, Melbourne, 2010, pp. 142-143.
    ‘Performance Art, Ritual and Shamanism’, in Makarand Paranjape (ed.), Sacred Australia: Post-Secular Considerations, Melbourne: Clouds of Magellan Press, 2009, pp. 271-285.
    ‘The Medium as Ghost: Politics and Poetics in Peter Kennedy’s Work’ in Hilde Van Gelder and Helen Westgeest (eds.), Photography between Poetry and Politics: The Critical Position of the Photographic Medium in Contemporary Art, Leuven UP, 2008, 99. 19-34.
    ‘Performance Art at the George Paton Gallery’ in Helen Vivien (ed), When You Think About Art: The Ewing & George Paton Galleries 1971-2008, Melbourne: Macmillan, 2008, pp. 190-207.
    ‘Memos to the 21st Century: An Australian Story’, in Return to Postmodernism: Theory - Travel Writing - Autobiography, eds Klaus Stierstorfer, Universitatsverlag, Winter GmbH, Heidelberg, Germany, 2006, pp. 35-42.
    ‘Body Memory and Time Zones’ in Roy Ascott (ed.), Coded Characters: Media Art by Jill Scott, Senefelderstraβe, Germany: Hatje Cantz Verlag Publishers, 2003, pp. 030-039. German and English.
    ‘A Fantastic Real: Contemporary Photography and Theoretical Ideas’ Rex Butler and Jacqueline Miller (eds) Critical Interventions: Biennale of Sydney 2002, Sydney: Artspace Visual Arts Centre Ltd., no pagination, 4,400 words
    ‘A Theoretical and Political Context’, in Hilary Robinson, Feminist Art Theory, Blackwell Publishers, 2001, pp. 96-101.
    ‘Requiem Chorus: Peter Kennedy's Millennium Opus’, in Adam Geczy and Benjamin Genocchio, (eds.) What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, 2001, pp. 101-106.
    ‘Obsolete Bodies and Prosthetic Gods’, in Peta Tait (ed), Body Show/s,: Australian Viewings of Live Performance, Rodopi Theatre Series, Amsterdam, 2001, pp. 177-186.
    ‘Australian Performance Art, 1969-1998’, Art Action 1958-1998, Quebec, Canada: Éditions Intervention and\Nouvelles éditions polaries Niepe, 2001, in French and English, pp. 186-197.
    ‘Re-configuring the Body: the Theatre of Photography’, in Stuart Koop and Susan Fereday (eds), Post: Photography/Post Photography, Centre for Contemporary Photography, Fitzroy, 1995, pp. 27-38.
    ‘Camping Out to Queer the Scene: Nineteenth Century Photographs’, in Stuart Koop (ed.), A Small History of Photography, Centre for Contemporary Photography, Fitzroy, 1997, pp. 45-50.
    ‘Considering Performance Art: The Absent Element - Fragments of History’, in Roger Benjamin and David Bennett (eds.), Rhetoric of History: Modernity and Postmodernity, Papers of the Art Association of Australia, vol. 2, Melbourne, 1990, pp. 56-66.
  • Refereed Journal Articles
    Mike Parr: Foreign Looking Artlink View
    Provocation Art+Australia, 2016. View
    Rethinking the Radical Edge in Video Performance
    by Australian Women Artists
    Senses of Cinema, December 2016. View
    A Language of the Feminine in the Works of Eugenia Raskopoulos Australian and New Zealand Journal of Art, 15:2, 2015, pp. 182-194. View
    A Right of Privacy and Photography in Public Anne Marsh, Melissa Miles, Mark Davison and Jessica Whyte,
    Australian Intellectual Property Law Bulletin, Volume 25, Number 1,
    June 2012, pp. 13-14.
    Performance Art Collaborations
    (with notes on video, installation and conceptual art)’,
    COLLOQUY text theory critique 22, 2011, pp.180-196. View
    Performance Art and its Documentation: A Photo/Video Essay About Performance, Still/ Moving: Photography and Live Performance, Sydney:
    Department of Performance Studies, University of Sydney, No. 8. 2008, pp. 15-29.
    A Surrealist Impulse in Contemporary Australian photography Papers of Surrealism, no. 6,
    AHRB Research Centre for Studies in Surrealism and its Legacies, no. 6, 2007,
    University of Essex and University of Manchester, on-line journal
    A Photographic Ghost in Contemporary Painting Southern ReView , vol. 37, no. 1, 2004, pp. 34-48.
    ‘Ned Kelly by Any Other Name’, Journal of Visual Culture (UK), vol. 1, no. 1, April 2002, pp. 57-65. View
    ‘Leah King-Smith and the Nineteenth Century Archive’, History of Photography (UK), vol. 23, no. 2, Summer 1999, pp. 114-117.
    Special issue on Australian photography edited by Michael D. Galimany.
    'Performing Histories and the Myth of Place: A Female Menace’, in n.paradoxa: international feminist art journal, vol. 3, January 1999, pp. 6-14. View
    ‘Bad Futures: Performing the Obsolete Body’, Continuum, Electronic Arts in Australia,
    ed. Nicholas Zurbrugg vol. 8, no. 1, August 1994, pp. 280-292.
    ‘Techno-Bodies: Spectacles, Dreams and Desires’, Binocular, September 1992, pp. 129 - 147.
  • Monographs
    Body and Self: Performance Art in Australia 1969-1992 third edition on Kindle, 2015
    Performance Ritual Document South Yarra: Macmillan, 2014 (ISBN 978 1 921394 97 3)
    LOOK! Contemporary Australian Photography South Yarra: Macmillan, 2010 (ISBN 978 1 921394 10 2) 25 x 31 cms, 400 pages
    Pat Brassington: This is Not a Photograph Quintus an imprint of the University of Tasmania, 2006. (ISBN 0 977 5572 0 0) 20 x 24 cms, 63 pages
    The Darkroom: Photography and the Theatre of Desire Melbourne: Macmillan, 2003 (ISBN 1 87683 278 9) 16 x 24 cms, 287 pages
    Body and Self: Performance Art in Australia 1969-1992 Melbourne: Oxford University Press, 1993. (ISBN 0 19 553306 5) 19 x 25.5 cms, 262 pages
  • Research Websites
    Doing Feminism – Residency and Symposium December 1 2017 – 27 February 2018. View
    Contemporary Australian Photography View
    Australian Video Art Archive View
    Body & Self revised (2012) on-line View
  • Website Interviews & Articles
    Mike Parr: Foreign Looking Artlink View
    Provocation Art+Australia, 2016. View
    Body-Time: Rethinking the Radical Edge in Video Performance
    by Australian Women Artists
    Senses of Cinema, December 2016. View
    A Language of the Feminine in the Works of Eugenia Raskopoulos Australian and New Zealand Journal of Art, 15:2, 2015, pp. 182-194. View
    A Right of Privacy and Photography in Public Anne Marsh, Melissa Miles, Mark Davison and Jessica Whyte,
    Australian Intellectual Property Law Bulletin, Volume 25, Number 1,
    June 2012, pp. 13-14.
  • REVIEWS IN JOURNALS (500-1,000 words)
    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 greatest Australian poet you’ve never heard of The Conversation, Arts + Culture, 29 November 2013 View
    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.
    Linda Sproul: Listen, Linden Gallery, St Kilda, Victoria, Australia, 1993 in n.paradoxa: international feminist art journal, 2000, on-line version at: View
    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.
    Stelarc, Psycho-Cyber: Laser Eyes and Amplifications, performance The Theatrette, Department of Visual Arts, 1996.
    Jill Orr, Mother's Dress, performance Monash University Gallery, 1995.
    Margaret Trail, The Thin Blue Line Stops Here, performance The Theatrette, Department of Visual Arts, 1994.
    Jill Orr, Return of the Voyeur, performance (and interactive video camera - Anne Marsh) The Theatrette, Department of Visual Arts, 1993.
    Peggy Wallach, Performing in The Rain, performance The Theatrette, Department of Visual Arts, 1992.
    Chris Knowles and Christopher Barnett, Stations of the Cross, a multi-media sound/poetry performance The Studio, Department of Visual Arts, 1989.
    Photography reviewer for the Herald Sun, 1994-5; Visual Arts reviewer 1996-7 contributing fortnightly reviews and occasional features.
    History Revisited (Leah King-Smith), HS, April 19, 1994.
    Bottom line in crates (Victorian Dairy Industry Association 1994 Advertising campaign and Werner Biscoff), HS, May 3, 1994.
    City Theme Rules (Peter Hennessy and Patricia Piccinini, Nicola Loader), HS, May 17, 1994.
    Color a cover-up (Full Spectrum and Fiona Macdonald), HS, May 31, 1994.
    Poignant Pictures (Axel Poignant, Jan Nowell), HS, June 14, 1994, p. 73.
    Nude pictures spark debate (Maria Grande, Gerard O'Connor), HS, June 28, 1994, p.47.
    Theme of the body (Corpora Narrative), HS, July 12, 1994.
    Capturing moments in time (Sue Ford), HS, July 13, 1994.
    Snapshots of nothingness (Jean Baudrillard, David Stephenson), HS, July 26, 1994, p. 37.
    Face to Face with reality (Faciality, Rod McLeish), HS, August 9, 1994.
    A French Love Affair (J'aime la France), HS, August 23, 1994, p. 51 (feature).
    Mapping Australia's past (Leah King-Smith, Vivienne Binns, Heather Winter), HS, September 6, 1994, p. 47.
    Chilling focus on mutants HS, September 20, 1994, p. 43.
    Focus on Show (Contemporary Art Fair and selected exhibitions), HS, October 4, 1994, p. 45.
    Making Light of a Dark World (Joyce Tenneson and Blak City Culture), HS, October 19, 1994, p. 78.
    Tracey's Style Comes at a Price (Tracey Moffatt, Marcus Bunyan), HS, November 2, 1994, p. 79.
    Koorie Life Recorded (Daughters of the Dreaming and Michal Hieman), HS, November 15, 1994, p. 47.
    Waverley in the Picture (Arranging Nature, Interactive Technosuck and Ian de Gruchy), HS, November 29, 1994, p. 47.
    Time Frame (Victorian Views, NGV), HS, December 13, 1994, pp. 57 and 59.
    Art in Cyberspace (Roundup 1994), HS, December 13, 1994, p. 61.
    A Snapshot of the Future (New Media Network), HS, December 27, 1994, p. 69.
    Meltdown for the Skyline (Melbourne Spires and Visage) HS, January 10, 1995, p. 47.
    Our Family Snapshots (The Biggest Family Album, Museum Vic), HS, January 24, 1995, p. 43.
    Ignore the Hype (Robert Mapplethorpe), HS, February 7 1995, p. 53.
    Salon of Still Images (1995 Summer Salon, Anne Reynolds and Deborah Strutt), HS, February 24 1995, p.85.
    Master in Soft Focus (Harald Cazneaux), HS, March 7, 1995, p. 33.
    Camp icons framed (Pierre et Gilles), HS, March 15, 1995, p. 49.
    Real Life Images go Snap, Daryl and Pop (Kent Morris, Likenes: Dupain, Cazneau, Cato et al), HS, April 5, 1995, p.4X.
    Performance Art in Sharp Focus (25 Years of Performance Art and Naomi Kumar), HS, April 19, 1995, p. 51.
    Pinhole shows focus on narrow views (Pinhole Imagery, Susun Fereday, Luke Roberts), HS, May 17, 1995, p. 52.
    Times of change (South Melbourne: A History, Donati Daniela, Shaking Tree), HS, May 31, 1995, p. 53.
    Three ways to look at photo art (Brenda L. Crofts, Adam Wolter, Kathryn Reeves), HS, June 14, 1995, p. 61.
    A show with a focus on Australian history (Location, Landscape, Lies; Jeff Moorfoot), HS, June 28, 1995, p. 65.
    Four in focus gives an insight to the mind (Bad Light; Peta Clancy; Sandra), HS, July 12, 1995, p. 63.
    Projectors the reel heroes of local cinema exhibition (Jaffas Down the Aisle: A century of cinema), HS, July 26, 1995, p.58.
    Violence of child's play (Poli Papapetrou, Tony Nott and Nanette Carter), HS, July 26, 1995, p. 56.
    Photo display of negatives (Prvit Santavanond, Sadie Chandler and Stephen Birch; Technothelylogia), HS, August 8, 1995, p. 43.
    Tackling disaster (Dena Lester; Harry Nankin), HS, August 22, 1995, p. 45.
    Into the dark room (Farrell and Parkin), HS, September 5, 1995, p. 45.
    Art and politics in sharp focus (Sue Ford; Anne Zahalka), HS, September 19, 1995, p. 63.
    Filling space with images (Ian de Gruchy), HS, October 3, 1995, p. 46.
    Never Never land (Destiny Deacon; James Cant), HS, October 18, 1995, p. 56.
    Torture in focus HS, November 14, 1995, p. 54.
    Peak into wasteland, HS, November .., 1995, p.
    Democratic culture HS, November 29, 1995, p. 66.
    Love is in the air (Lovers, Heide), HS, December 6, 1995, p. 62.
    Children's writes (book review, Margaret Plant, Painting Australia: A Child's Guide to Australian Painting), HS, December 9, 1995, p. 59.
    Castlemaine Art Gallery and Historical Museum and Bendigo Art Gallery HS, January ?, 1996
    Abstract view of a past world (Into and Out of Abstraction), HS, January 17, 1996, p. 57.
    Fleshing out object of desire (The Object of Existence and Marcus Bunyan) HS, February 7, 1996,
    Focus on angst (XLR8 Summer Salon and David Archer), HS, February 13, 1996, p. ?
    Technical glitch (Moet and Candon Art Prize and Simon Normand), HS, February 21, 1996, p.?
    Log in to art (Internet Graphics), HS, February 27, 1996, p.?
    Garden delights (Sculpture Walk and Kate Beynon), HS, March 6, 1996, p. 53.
    Dark glimpses (Bill Henson), HS, March 12, 1996, p. 55.
    Burning issues (New Editions, Monash and Cloning Miranda, Stop 22), HS, March 22, 1996, p. 83.
    Stills and stripes (An American Century), HS, March 26, 1996, p. 69.
    Gallery of ruins (Ruins in Reverse), HS, April 17, 1996, p. 57.
    Bridging the cultural void (Women Hold Up Half the Sky), HS, May 1, 1996, p. 49.
    A New Age kindred spirit (Godfrey Miller), HS, May 15, 1996, p. 57.
    Dawn Sime retrospective HS, May ??, p. ??
    National pride in Nolan (Sidney Nolan), HS, May 29, 1996, p. 57.
    Works shed new light (Susan Fereday), HS, June 12, 1996, p. 54.
    Utopia far from perfect (Chris Barry), HS, June 26, 1996, p. 67.
    Spot the Ball and Eyes on the Ball', HS, June 29(?) 1996, p. ?
    Object of desire (Julie Watkins), HS, July 30, 1996, p. 67.
    Bleak rumble shakes senses (Rumble curated by Stuart Koop; and Mathew Sleeth, Short Stories) HS, August 14, 1996, p. 51.
    Bodies of thought (Polixeni Papapetrou) HS, August 28, 1996, p.57.
    Gower's tiny slice of life (Elizabeth Gower) HS, September 11, 1996, p. 50.
    A magic mix of East and West (Rapport: Eight Artists from Singapore and Australia), HS, September 25, 1996, p. 52.
    The brave face (Face Value: Portraits from the Collection), HS, October 2, 1996, p. 52.
    Best and fairest (Fifth Australian Contemporary Art Fair), HS, October 4, 1996, p. 77.
    Biblical Boyd (Arthur Boyd Prodigal Son), HS, October 9, 1996, p. 61.
    Physical pictures (Henson, Farrell and Parkin, Leibovitz), HS, October 23, 1996, p. 57.
    Focus on the bizarre (Pat Brassinton) HS, November 6, 1996, p. 51
    Life and Land (H.J.Wedge) HS, December 7, 1996, p. 79.
    Opening the mind's pages (Marion Crawford), HS, December 18, 1996, p.68.
    Unusual platform for art (Platform), HS, January 1, 1997, p. 54.
    Ned of approval (Robert Whitaker), HS, January 15, 1997, p. 50.
    Living artworks in ink (eX de Medici and Kelly Leonard), HS, January 29, 1997, p.34.
    Of women and the Web (Sandra Taylor), HS, March 12, 1997, p. 42.
    Border hoppers emerge (Neophytes retrospective), HS, April 8, 1997, p. 49.
    Viewing our sacred cows (Gordon Bennett), HS, April 23, 1997, p. 50.
    A show full of suspense (Ian de Gruchy), HS, May 7, 1997, p. 48.
    Timely trip into recent past (Domenico de Clario), HS, May 21, 1997, p. 42.
    Real-life images (Elizabeth Gertsakis; Sally Mannall; Alex Rizalla), HS, June 4, 1997, p. 44.
    Proud portraits (Anne Zahalka), HS, June 8, 1997, p. 50
    Unfinished Business Closing lecture for Perspectives on art and feminism.
    Feminist Positions public paper, at ACCA Unfinished Business: Perspectives on art and feminism (15 Dec 2017-25 March 2018) followed by discussion with Emily Floyd, Paola Balla and Antong Atem.

    Eugenia Raskopoulos: Feminine Aesthetic Townsville regional gallery as part of the Townsville Photographic Prize, 15 May 2016 (also judged the prize and did public floor talk on 13 May, 2016)
    Women and Performance Art in Australia Biennale of Sydney, 26 March 2016.
    Future Manifestos ACMI and ABC Radio National with Paul Barclay and Clementine Ford,13 March 2016.
    Performance and Contemporary Art panel participant, GOMA, Brisbane, 21 February, 2016-09-05
    Sexing the Picture keynote for SEXES, Performance Space, 29 November, 2012.
    Performance Art and its Remediations AAANZ conference, July 2012.
    Thresholds of the Unknown: Pat Brassington at Into the Cosmos, Artists’ Week Symposium, Adelaide Festival of Arts, day four, Monday 5 March, 2012, 30 minute paper.
    Living Pictures Tableau Vivant Symposium, Australian National Gallery, May 20, 2011, 60 min keynote.
    Video and Performance Art Collaborations (with notes on installation) Collaborations in Modern and Postmodern Visual Art, Conference September 30 – October 1, 2010, Monash Conference Centre, Melbourne.
    The Photographic Medium in a Post Medium Age Peter Turner memorial Lecture, Massey University, Wellington, New Zealand, Saturday 21 November 2009 (60 min keynote)
    The Face as a Performative Screen National Photographic Portrait Prize, National Portrait Gallery, keynote lecture, 23 April 2009 (50 minutes).
    Performance Art and its Documentation Photographies: New Histories, ANU, 10-12 July 2008, 20 minute paper.
    Body Art, Ritual and the Real Out of Bounds: Art, Faith & Religiosity, Monash University, Faculty of Art & Design, August 20, 2008, 20 minute paper.
    A Critical Axis: Documentary Photography and Art Key Note Address, FotoFreo Conference, Western Australian Maritime Museum, April 5th, 2008, 60 minute paper.
    Politics and Poetics: A Case Study on Peter Kennedy 33rd AAH Annual Conference, Contestations,12-14 April 2007, School of Art and Design, University of Ulster, Belfast
    Photography: A Theatre of Desire Theatre of the Lens: Theatricality and Photography, Queensland Festival of Photography, Photography Symposium, paper presented 8 October 2006, 30 minutes.
    A Surrealist Impulse in Contemporary Australian photography Terra Incognita: Surrealism, Psychoanalysis, and Sexuality in the Pacific Region, an international symposium, the School of Art History, Cinema, Classics & Archaeology and the AHRC Research Centre for the Studies of Surrealism and its Legacies, September 6-9, 2006.
    Contemporary Australian Photography 1980 to the Present FotoFreo: The City of Fremantle Festival of Photography, presented 28 March, 2006.
    Colonial/Postcolonial: Discourses of Identity in Australian Photography Globalisation and Postcolonial Writing: An Australia-India Exchange, Calcutta University, Kolkata, India, February 7-9 2006.
    Displacement and Identity: Contemporary Australian Indigenous Photography in a Historical Context Histories and Geographies of Difference: Australia and America in Global Context, University of Wisconsin, Milwaukee 27-29 October 2004.
    Photography: Mute Witness and Primitive Theatre keynote address, WITNESS: A Photography Symposium, The University of Melbourne, September 27, 2003.
    Just (an)Other Picture: Where Art and Research Meets Innovations: arts-media-design. A National Symposium, Victorian College of the Arts, Melbourne, May 25 2002.
    Leigh Bowery: Performance Artist Exploding Dandy Conference, Artspace as part of the Sydney Gay + Lesbian Mardi Gras Festival, February 2002.
    Ned Kelly by Any Other Name Art Association of Australia and New Zealand Conference at the University of Melbourne, 5-7 October, 2001.
    Australian Performance Art: Ritual, Catharsis and the Deconstruction of Gender Positions, 1970-2000 Keynote address at Sympoium, International Conference on Post-Object and Performance Art, 2000, Christchurch, New Zealand, November 2000.
    Australian Performance Art, 1969-1998, 60 minute video lecture with slide projection, presented at Art Action 1958-1998, an international conference on live art held in Quebec, Canada, 20-25 October. Video presentation at the conference on October 22. Paper generated from video due for publication in 2000.
    Performative Photography: Nineteenth Century Archives and Albums Revisited Art Association of Australia, National Conference, October 1997.
    Recent Australian Performance Art: A Critical Story Performance Art, Culture and Pedagogy, PennState University, November, 1996.
    The Rape: Facialized Body/Black Hole - Reading the Phallic Machine Surrealism Revolution by Night for Lips of Coral conference, Australian National Gallery, Canberra, 1993.
    Ecological Bodies and Performance Art Occupied Zones, conference on performance and technology, Performance Space, Sydney, 1993.
    The Terror of Technology Memory, Media and Machines: A Symposium on Art, Technology and Performance, Ballarat University College, 1990.
    Considering Performance Art: The Absent Element - Fragments of History The Rhetoric of History: On the Historiography of Art, convened by Roger Benjamin for the Art Association of Australia, National Conference, Melbourne, 1989.
    Ritual and Performance Art From Work to Screen, Queensland College of Art Gallery, Brisbane, 1988.
    On Spectatorship: From Rituals to Agency, In Conversation: Choreography Now panel discussion with Branch Nebula, Govin Ruben, chair: Robert Reid.9 March 2018, organised by Dancehouse at the Victorian College of the Arts.
    Ritual as Performance / Performance as Ritual for Simon’s Boudoir Conversation Series, Dancehouse at Alice’s Bookshop, 13 March 2015 with Jill Orr, Sarah-Jane Norman, facilitated by Philipa Rothfield, 5-7pm.
    Feminism and Performance Art for Film, Feminism and Contemporary, Art Panel Discussion, Counihan Gallery in Brunswick, March 4, 2015, 6-7.30, 20 minute presentation.
    Where are we now? Feminist Forum Day, for A Dinner Party: Setting the Table, Westspace, Melbourne, Saturday 8th September, 2012, 2-4 pm (30 minute talk).
    Reconsidering Australian Media Art Histories, Roundtable Symposium, Victorian College of the Arts, Thursday 21 June, 2012, 12 - 5 pm.
    LEVEL: Food for Thought: A Dinner Party, 2012 Next Wave Festival, Tuesday 22 May, 2012, Footscray Community Arts Centre, round table discussion about feminism in the arts over three generations, 7 – 10 pm.
    The first Salon (The Ignorant Schoolmaster) for Art Programme — One to One [1:1] Architecture, Tuesday 27 March 2012, 6.30 – 8.00pm.
    Eugenia Raskopoulos in conversation with Anne Marsh, Art Gallery of NSW, Wednesday 22 February, 2012, 6.00 – 6.30 pm.
    Performance Art and Video Collaboration University of Queensland, Daphne Mayo, visiting professor lecture series. August 26, 2011, 1 – 2 pm.
    Cruising with Roland Barthes: The Ideas of Photography master class seminar for postgraduates, University of Queensland, Daphne Mayo visiting professor lecture series. August 23, 2011, 10 am – 1.00 pm.
    Contemporary Australian Photography keynote public lecture, University of Queensland Museum of Art, Daphne Mayo visiting professor lecture series. August 24, 2011, 6 – 7 pm.
    The Menace of the Photographic Medium University of Queensland, Daphne Mayo, visiting professor lecture series. August 25, 2011, 2 – 3pm.
    Afterglow: Performance Art and Photography Monash Gallery of Art, Saturday 26th February 2011. Public forum with Mike Parr.
    Surrealist Photography and Roger Ballen Monash Gallery of Art, Saturday 24 October, 2009 (20 min paper)
    Look! Contemporary Australian Photography since 1980 Focus on Photography Forum, National Gallery of Victoria (International' August 14, 2008, 30 minute lecture).
    Pat Brassington: A Surrealist Impulse in Australian Art Curtin University, April 8, 2008. 60 min lecture.
    Body Art – A Historical Context National Gallery of Victoria, 50 minute paper, March 30, 2008.
    Feminism Didn’t Happen Gertrude Street Contemporary Art Space, Monday 26 November, 2007, public forum, 10 minute position paper, 2 hour forum.
    Pat Brassington at Institute of Modern Art, Brisbane Thursday 22 November, 2007. One hour public lecture.
    Pat Brassington for the Freud Forum Monash University Museum of Art, Thursday 1 November, 2007, 20 minute paper, public forum
    Photography and Performance Art for Dance Performance Photography Forum at the Centre for Contemporary Photography, Melbourne International Festival, Saturday 20 October 2007, 20 min paper.
    Body Double Forum on Julie Rrap, Museum of Contemporary Art, Sydney, Friday 19 October, 2007. 20 minute forum paper.
    Talk on Gillian Wearing for Look Who’s Speaking public program Australian Centre for Contemporary Art, December, 2006, 15 minute talk and 45 minute engagement with gallery visitors concentrating on the video installation DRUNK.
    Polixeni Papapetrou: In Other Worlds Centre for Contemporary Photography, Melbourne, as part of the Antipodes Festival, July 14, 2005, 1 hour paper.
    Mona Hatoum: Body Art and Performance in an Historical Context Museum of Contemporary Art, Sydney, May 14, 2005, part of the Distance and Intimacy Forum, 50 minute paper (keynote).
    Psycho Drama: Edvard Munch and the Troubled Erotic National Gallery of Victoria (International), 15 December 2004. 1 hour paper.
    The Female Nude in Art Monash Gallery of Art forum, November 18 2005, 20min presentation.
    Contemporary Australian Indigenous Photography Concordia University, Montreal, Canada, November 3, 2004, I hour lecture
    Transgressive Bodies: Case Studies on Australian Body Art Action Le Lieu Centre en Art Actuel, Québec City, Québec, Canada, November 5, 2004, 2 hour public seminar.
    A Photographic Virus in Contemporary Art Biennale of Sydney, Public Program, August 8, 2004. 1 hour paper.
    Performing History and the Ab-original Menace Centre for Australian Indigenous Studies, Monash University, 2004.
    Photo Visions: Contemporary Australian Photography Gold Coast Art Gallery, 30 April 2004.
    A Fantastic Real: Contemporary Photography and Theoretical Ideas Biennale of Sydney, Public Program, May 2002. 1 hour paper.
    Julia Margaret Cameron in Context: A Performative Practice National Gallery of Victoria, January 2002. 1 hour lecture.
    Julia Margaret Cameron’s Maternal Desire National Gallery of Victoria, January 2002. 1 hour lecture.
    Innocently Bad part of the Bubble Lecture Series, Centre for Contemporary Photography, Melbourne, October 17, 2001.
    Real Fantastic: Theoretical Meanderings in Contemporary Photography for Lightness of Being Symposium, Monash University Gallery, 2001 (15 minutes)
    Art and Technology National Gallery of Victoria, education program, February 24, 1998.
    Conversations with Susan Hiller Australian Centre for Contemporary Art, March 4, 1998.
    The Body in Beyond Belief National Gallery of Victoria, floor talk at the gallery, July 1, 1998.
    Photography a Desiring Machine Monash University, Dept. of Visual Culture, Research Seminar Program, August 21, 1998.
    The Epistemology of the Camera Queensland College of the Arts, Griffith University, April 30, 1997.
    The Actuality of Sculpture: An Impossible Vision PennState University, November 18, 1996.
    Obsolete Bodies and Prosthetic Gods PennState University, November 19, 1996.
    Contemporary Aboriginal Photography PennState University, November 20, 1996.
    Sculpture in the Expanded Field Museum of Modern Art at Heide, 1996.
    Guest lectures on feminism and the arts, performance art, sculptural installation and related topics for the Education Program, National Gallery of Victoria, 1993-1995. These lectures were given to secondary school teachers, coordinators of VCE art studies and their students.
    What is this Thing called Performance: The Impact of Theory on Representations of the Body Australian Centre for Contemporary Art, May 26, 1995.
    Camping Out to Queer the Scene: Nineteenth Century Photographs of the Body for A Small History of Photography, seminar series, Centre for Contemporary Photography, July 26, 1995.
    Posing: The Theatre of Photography Victorian College of the Arts, September 14, 1995.
    The Performative Portrait Postgraduate seminar program, the University of Melbourne, October 26, 1995.
    Performance Art in the 1990s National Gallery of Victoria, November 24, 1995.
    Women and Performance Art, the Theoretical and Practical Shifts, 1969-1994 A Space for Women, the Great Hall, National Gallery of Victoria, February 26, 1994.
    Alternative Art Spaces: A History Fringe Festival Symposium at the National Gallery of Victoria, May 28, 1994.
    Transgressive Practices/Un-natural Acts: Wicked Women in Performance 1975-1994 Women's Studies Seminar Program, Monash University, May 16, 1994.
    Performance Art and Pornography Next Wave Festival, Campion Hotel, Fitzroy, June 16, 1994.
    Re-con-figuring the Body: The Theatre of Photography, Annie Leibowitiz, Joel- Peter Witkin and Tessa Boffin for Photography/Post Photography lecture program, Centre for Contemporary Photography, Melbourne, July 27, 1994.
    Hypothetically Speaking...Notes on Appropriation for The Hypothesis of Imitation, Sutton Gallery, Melbourne, 1992.
    Sexuality, Desire and Representation International Women’s Day Seminar, By Public Demand – Demystifying French Theory, Women’s Art Register, Carringbush Library, 16 March, 1991, I hour lecture.
    The Terror of Technology for Memory, media and Machines, a symposium on Art, Technology & Performance, Ballarat Institute of Education, 23 October 1991.
    All Art is Useless: Useless Desire Sexuality, Desire and Representation, Monash University Gallery, 1990.
    Photography and Post-Modernism: The Current Debates’. The Victorian Centre for Photography, Victoria College, Prahan Campus, 17 March, 1989.