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Articles “Daniel Among the Philosophers: The Jewish Museum Berlin and Architecture After Auschwitz,” Architectural Theory Review, vol. 10, no. 1 (2005): 105-125. “Contemporary Art and Contemporaneity,” Critical Inquiry, vol. 32, no. 4 (Summer 2006): 681-707. “World Picturing in Contemporary Art; Iconogeographic Turning,” Australian and New Zealand Journal of Art, vol. 6, no. 2 (2005) and vol.7, no. 1 (2006): 24-46. "Primacy, Currency, Convergence: Marketing Contemporary Artin the Conditions of Contemporaneity," Art Papers,April/May 2005, at www.artpapers.org "Biennales in the Conditions of Contemporaneity," Artand Australia 42:3 (March 2005): 406-415 “Making Manhattan Modern, But Not Contemporary, Again,”CAAReviews, Essay online posted February 2005, http://www.caareviews.org/reviews/moma.html “Thinking Wishfully; The 8th Havana Biennale Cuba,”Nka journal of Contemporary African Art, 19 (Summer 2004):64-69. “Architektur als Ziel,: Trauma und Erhabenes unter den Bedingungender Gleichzeitkeit,” Lettré internationale,66, Spring 2004, 34-42 “Difference and Reconciliation: Art Writing in the Clash betweenCultures,” Haus de Kulturen der Welt, Berlin, 2003, http://netzspannung.org/media-library/frames-of-viewing/en Interview with Samuel Weber, “The Theatre of the Image: Kierkegaard,Artaud and Pollock,” Stanford Humanities Program: Writing Science, posted 2003, http://www.stanford.edu/dept/HPS/ WritingScience/etexts/Weber/Repetition.html “The Dialectics of Disappearance: Architectural IconotypesBetween Clashing Cultures,” Critical Quarterly, vol.45, nos. 1-2, 2003, 33-51 “The Political Economy of Iconotypes and the Architectureof Destination: Uluru, the Sydney Opera House and the World TradeCenter,” Architecture Theory Review, vol. 7, no.2,2002, 1-44. “Erwin Panofsky, Three Essays on Style (MIT Press, 1995) andPerspective as Symbolic Form (Zone Books, 1997),” ThesisEleven, #66, May 2001, 131-138. “Public Art Between Cultures: The Aboriginal Memorial,”Critical Inquiry, Summer 2001, 629-661 “Growing Structures in an Age of Scarcity,” Like,Art Magazine, no.10, Summer 1999, 26-29 “The Machine in the Studio: Constructing the Postwar AmericanArtist by Caroline A. Jones, Chicago: University of Chicago Press,1996,” Technology and Culture, vol.40, October 1999,906-908 “Between Regionality and Regionalism: Middleground or Limboland?”,Periphery, nos. 40 and 41, Spring 1999-Summer 2000, 3-8 “Kandinsky and the Russian Avant-Garde,” Art andAustralia, vol.34, no.2, Summer 1996, 172-173 “Modernism, Modernity and Otherness,” AustralianJournal of Art, XIII, 1996, 145-166 (Franz Philipp MemorialLecture 1994) “All Things Opposite: Women and Australian Art.” Artand Australia, vol.33, no 4. Winter 1996, 479-480 “The Optical Unconscious. Rosalind E. Krauss. Cambridge, Mass.:MIT Press, 1993,” MODERNISM/modernity, vol.2 no.1,Jan. 1995, 193-6 “Rethinking Regionalism: Art in the Northern Territory,”Art and Australia, 31:4, Winter 1994, 469-471 “Selling Science by Story-Telling,” Metascience,new series #4, 1993, 99-101 (review of Martha Banta, Taylored Lives,University of Chicago Press, 1993) “Smith on Smith on Counihan,” Art and Australia,vol.31 no.2, Summer 1993, 182-3 (review of Bernard Smith, Noel Counihan:Artist and Revolutionary, Melbourne, Oxford University Press, 1993) “Live Art’s Effects and Defects,”in Richard Walsh,ed., Ferretabilia, The Life and Times of the Nation Review,Brisbane, University of Queensland Press, 1993, 125-6 (from NationReview, June 17, 1972) “Ian Burn,” Periphery, 17, November 1993, 6 “Second Person/First Peoples: Writing About Post-ColonialArt,” Art Monthly, 64, October 1993, 8-11 “On, Around and Through the Boundaries: The Ninth Biennaleof Sydney Symposium,” Part I, Periphery, 15, May1993, 3-5, Part II, 16 August 1993, 3-5 “Tony McGillick,” Art and Australia, vol.30no.4, Winter 1993, 476 “The Boundary Rider at the 9th Biennale: Border Guard or Bricoleur?”24 Hours, Dec. 1992, 40-43 “Out from Under: An Australian View of American Art,”Meanjin, 4, Summer, 1992, 865-876 “Nothing If Not Abnormal,” The Independent Monthly,April 1992, 28-29. “Coldly Objective and Fiercely Personal: Documentary Photographersand History in America,” Archives of American Art Journal,Vol.31, No.2, 1991, 21-30 (review of Trachtenberg, Reading AmericanPhotographs, Stange, Symbols of Ideal Life, Fleischhauer and Brannan,Documenting America). “Profits of Art,” Art Monthly Australia, 36,Nov 1990, 28-29, and 37, Dec. 1990-Jan, 1991, 24-25 (Parts 1 and2 of review of Frey and Pommerehne, Muses and Markets) “Aboriginality: Contemporary Aboriginal Paintings & Printsby Jennifer Isaacs,” Australian Journal of Anthropology,Vol.1, No.1, 1990, 63-65. “Fifth Column,” The Age Monthly Review, Vol.10,No.2, June 1990, 12-13 “Dealers versus auctions at the New York Armory,” ArtMonthly Australia, 31, June 1990, 30-31 “Australian Art: Obstacles and Other Obsessions,” AustralianStudies, 13, Apr 1990, 77-84 “Eighth Biennale of Sydney: The Return of the Readymade,”Gallery (National Gallery of Victoria), Mar 1990, 16-17 “Aboriginal Art: Its Genius Explained,” The IndependentMonthly, Sept. 1989, 18-19 “The New Art Syllabus in its Educational Context,” Papers:Occasional Seminars on Art Education, Sydney: City Art Institute,1989, 38-40 “The Imagery of Sexual Identity in Recent Australian Art:(What) Lies Beyond Inference?” Artlink, Vol 8, No4, Dec 1988, 29-32 “For Criticism: A Reply,” Art Monthly, Australiaand International, 17, Dec 1988, 7-9 “Provincialism Refigured,” Art Monthly, Australiaand International, 13, August 1988, 4-6 (Australian BicentennialBiennale Forum Paper, AGNSW, May 1988) “Art Criticism in Australia: the Mid-1970s Moment,”Agenda, 2, August 1988, special supplement “Art Papers:the present and recent past of Australian art and criticism”,ed. Robyn McKenzie, 12-13 “Interpreting the New Art Syllabus,” Art in Education,13, July 1988, 4-5 (Journal of the Art Education Society of NSW) “The Achievement of Diego Rivera,” Art Monthly,Nov. 1987; also in Art Monthly, Australia and International,7, Dec. 1987, 5-7 “Black Swan in the City ... Detroit, First Week of August1986,” Detroit Arts Quarterly, March 1987; also inArt & Text, 25, June/Aug 1987, 2-19 “Chasing the Symbol of a Mangy Sheep,” Artlink,7, Mar/Apr 1987, 31-32 (review of Fuller, The Antipodean Scapegoat) Preface to Anthony Bradley (ed), Contemporary Art: A Bibliographyof Publications by Members of the Power Institute, Sydney:Power Institute Occasional Paper No 3, June 1986
“Re-presenting Work,” Afterimage, Sept 1986,8-9 Guest Editor, “Current Australian Photography: Critical Practice,”Afterimage, Sept 1986, 4-9 “Landscape with Feeling,” Age Monthly Review,2 parts, July 1986, 14-15 August 1986, 21-23 “The Most Australian of Our Artists: Tom Roberts, Impressionismand Cultural Construction,” Age Monthly Review, Feb1986, 16-20 (with George Munster et al.), “Special Symposium: AustralianIntellectuals and the Left,” Thesis Eleven, No 10/11,Nov/ Mar 1984-85, 145-165 “Art and Social Commitment: Madness and Meaning in the 1940s,”Meanjin, Vol 44, No 2, June 1985, 178-187 “Photopop - Painting with Photography,” Photofile,Vol 3, No 2, Winter 1985, 16-17 “Photography for and against the Grain: Leslie Sheddon andAllan Sekula,” Afterimage, 13, Summer 1985, 16-19 “Unique Power of Art in Thirties and Forties,” NationalTimes, 12-18 October 1984, 39 (review of Merewether Art andSocial Commitment) “The Visual Arts Board: From a ‘Ministry of Mediocrity’to ‘Rational Reform’?” Art Network, 14,Summer 1984, 22-27 (Part 1); 16, Winter 1985, 38-40 (Part 2); 17,Spring 1985, 40-42 (Part 3) “The Field Then and The Field Now - A Fragment,” Stuff,Dec. 1984, n.p. “Photographic Practice in the Trade Union Movement - A Report,”Photofile, 2, Winter 1984, 7 “This Fertile Moment: Russian Revolutionary Art,” AgeMonthly Review, 3, Feb 1984, 13-15; reprinted Art Monthly,Feb. 1984 “Mining Photographs and the Social Theory of Pictures,”Photofile, Vol.2, No.1, Autumn 1984, 9-11 “Populism and Privilege in Australian Painting,” AustralianCultural History, 3, 1984, 38-48 “Nationalism and Culture: Let’s Dance,” Anzart,Hobart, 1983, supplement to Island Magazine, 16, Spring1983, 26-29 “Notes on Art Criticism Now,” Art Network,10, Winter 1983, 40-41 “Marginality and Modernity: The Case of Frida Kahlo,”Lip, 8, 1984, 39-59 “Further Thoughts on Frida Kahlo,” Block, 9,1983, 34-7 “From the Margins; The Case of Frida Kahlo,” Block,8, London, 1983, 11-23 Guest Editor, Art in Education, special issue “Livingwith Change; Syllabus Revision and the Art Class,”8, June1983; includes “Introduction,” 3-5, and “Why Changethe Art Syllabus?” op..cit., 6-8, 1980 “Writing the History of Australian Art: Its Past, Presentand Possible Future,” Australian Journal of Art,3, 1983, 10-29 “Teaching Art History: a tutorial on Arthur Streeton’sStill Glides the Stream ...”, Art Education Society of NSW,Creativity in Art Education Conference Papers, 1982, 29-41 “Against the Grain: New Audiences and Changing Strategiesin Australian Art,” Australian Art Review, 1, edLeon Paroissien, Warner: Sydney, 1982, 128-133 “Pictured Protest: Art Against the Nuclear Nightmare,”Blacksmith, 1, Spring 1982,.14-24; reprinted Challenge,Dec 1982, 6-7 “Art, Social Context and Validation,” Art Monthly,June 1982; reprinted Art Network, 7, Spring 1982, 41-3 “Dirt Cheap: Film as Resistance,” Fuse, Vol.6,Nos.1/2, May-June 1982, 59-60 “A Science of Seeing,” The Age Monthly Review,Vol 1, No 10, March 1982, 7-8 “Kenneth Coutts-Smith,” Art Network, 5, Summer/Autumn1982, 70 “Art Through A Glass,” Overland, 86, Dec. 1981,60-62 (Review of Haese, Rebels and Precursors) “Modernism and Visibility: the Power of Architecture,”Transition, Vol 2, Nos. 3/4, Sept/Dec 1981, 16-22 “Modernism Revived; Realism Reduced,” AustralianNew Left Review, 77, Sept 1981, 41-9 (Review of McQueen, BlackSwan of Tresspass) “Publishing and Funding Photography; Some Proposals,”Photo-Discourse, Sydney College of the Arts, 1981 “Design and Revolution: Paris-Moscow 1900-1930,” Transition,Vol 2, No 2, June 1981, 32-6 “A New Spirit in Painting? The Royal Academy Meets ModernArt,” Art Network, Nos 3/4, Winter/Spring 1981, 14-15 “Modernism and Realism: Some Orientations,” Art& Text, No 2, Winter 1981, 33-38 “Angry Artists Turn to Unionism,” National Times,Dec. 21-27, 1980, 29 “Uranium: It’s not the end,”, Nation Review,Aug. 1980, 70 (review of the film by David Hay Dirt Cheap) “Why Change the Art Syllabus?” Art in Action ConferencePapers, Art Education Society of NSW, August 1980, n.p. (with Helen Grace, Charles Merewether and Toni Schofield) “Modsand Docos: Notes on Critical Practices in Photography,” AustralianPhotography Conference Papers, Working Papers on Photography,Melbourne 1980, 36-48 “Photography and Politics: The English Situation,” ArtNetwork, 2, Spring 1980, 65-66 (with John Storey) “Two Other Sesquis: The Royal Easter Showand May Day 1938,” Australia 1938, Bulletin No.1,Feb 1980, 48-65 “Photography/Politics: One,” Camerawork, 17,Jan-feb 1980, 6; reprinted in Working Papers on Photography,No 6, July 1980, 15-18, and in Fuse, vol 1, Dec 1980-Jan1981, 42-3 “Pictured History: the Matchgirls’ Strike 1888,”Camerawork, 17, Jan-Feb 1980, 7-10 “Biennale Notes,” Chimera, 5, 1979, np. “Progress in Art by Suzi Gablik,” Art and Australia,Vol.15, No.2. Dec. 1977, 147-8 “Daily Ideology,” Hasard, Aug 1977; also inManifestos, Statements and Other Follies, 6, Apr/June 1977 “(Provisional) Art & Languagein A. Stephen and C. Merewether,eds., The Great Divide, Melbourne, 1977, 48-53, reprintedLeft Curve, 7,1978, pp 68-72 “Modern Painting and the Northern Romantic Tradition,”Studio International, Vol 193, No 985, Jan-Feb 1977, 73-77 (with Ian Burn and Nigel Lendon) “Why is Australia a Worldof Absolute Silence?” in A. Stephen and C. Merewether eds,The Great Divide, Melbourne, 1977, 5-19 “Art & Language,” Spleen, 6, Dec 1976 “Cur, Piggy and the Prefect” and “Notes of a NewJournalist,” Honi Soit, Aug 31, 1976 “Rambling: A Few Stories about Modern Masters, Art & Language,& sitting-in at the National Gallery of Victoria,” MagicSam, 2, 1976, np “It’s Still Privileged Art: New York Notes,”Meanjin, Vol 35, No 1, Jan-Feb 1976, 23-33; reprinted TheFeral Gazette, Vol 5, No 6, Sept 1976 “Without Revolutionary Theory...” Studio International,Vol.91, No.980, Mar/Apr 1976, 134-136; reprinted C.A.S.,Vol 2, No 5, 1976 “Two Instances of Cultural Compartmentalisation,” DataArte, 15, Nov-Dec 1975, 76-77 “Doing Art History,” The Fox, 2, 1975, 97-104 “Fighting Modern Masters,” The Fox, 2, 1975,15-22 “Two Conservative Reflexes,” The Art Almanac,June-Sept. 1975, 32-39 “Official Culture and the Visual Arts Board,” Meanjin,Vol 34, No 2, June 1975, 121-28 “British Painting and American Painting: Some Issues,”Studio International, Vol 188, No 972, Dec 1974, 218-223 “The Provincialism Problem,” Artforum, XIII,No 1, Sept 1974, 54-9; reprinted in Malasartes (Rio deJaniero) No 1, Oct-Nov 1975 “Art and Art & Language,” Artforum, XII, No 6, Feb.1974, 49-52 “The Eventstructure Research Group in Australia,” Studio International, Vol 184, No 948, Oct 1972, 149-50 “A Portrait of the Artist in Patrick White’s The Vivisector,”Meanjin Quarterly, Vol 31, No 2, June 1972, 167-77 “Two Young Australian Sculptors: Tony Coleing and Nigel Lendon,”Art International, XVI/3, 20 March 1972, 54-7 “Provincialism in Art,” Quadrant, 70, March-April 1971,67-71 “Art and Revolution,” Arena, 25, March 1971, 77-86 (reviewof John Berger, Art and Revolution) “Two Paintings by Richard Smith,”Circa 70, March 1971,60-8 “The Paintings of Gunter Christmann,” Art International,XV/3, 20 March 1971, 22-5 “Dearth in Venice: XXXV Biennale,” Other Voices, Vol1, No 3, Oct-Dec 1970, 30-5 “The Painting of David Aspden,” Art International, XIV/8,20 October 1970, 50-3 and 79 “Interview: Colin Lanceley” (with Noel Hutchison andTony McGillick), Other Voices, Vol 1, No 2, Aug-Sept 1970, 36-41 “Discussion: Anthony Burgess” (with Paul McGillick etal.), Other Voices, June-July 1970, 18-23 “Color-form Painting: Sydney 1967-70,”Other Voices,Vol 1, No 1, June-July 1970, 6-17 “The Responsive Eye,” The Critic, Vol 10, No 5, Jan9, 1970, 44-6 “First Thoughts on a ‘Style of the ‘Sixties’in Recent Sydney Painting,” Uphill, 1, Sept. 1969, n.p. “Dick Watkins, Tony McGillick, a selection of work 1962-67,”Honi Soit, June 12, 1969, 8-9 “The ‘Style of the Sixties’,” Quadrant,58, March-April 1969, 49-53 “What is Art?” Honi Soit, June 12, 1968, n.p. “The Union Art Collection,” Union Recorder, March 14,1968, 26-7 |