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Chapters “Creating Dangerously: Then and Now,” in Okwui Enwezor ed., The Unhomely: Phantom Scenes in Global Society (Seville: Bienal Internacional de Arte Contemporáneo de Sevilla, 2006). Also in Spanish. “Better Ideas and Impossible Objects: A Commentary,” in Héctor Olea and Mari Carmen Ramirez eds., Versions and Inversions: Perspectives on Avant-Garde Art in Latin America (New Haven and London: Yale University Press for the International Center for the Arts of the Americas, Houston Museum of Fine Arts, 2006). “Biennales in the Conditions of Contemporaneity,” in Blair French, Adam Geczy and Nicholas Tsoutas, eds., Criticism+Engagement+Thought, On Reason and Emotion 2004 Biennale of Sydney, Sydney: Artspace, 2004, 53-59 “Visual Regimes of Colonization: Aboriginal Seeing and European Vision in Australia,”,in Nicholas Mirzoeff ed., The Visual Culture Reader, London and New York: Routledge, 2003, 2nd ed., 483-494 “Installing the Format of the Future,” in Adam Geczy and Benjamin Genocchio eds., What is Installation? An anthology of writings on Australian installation art, Sydney: Power Publications, 2001, 239-242 “Life-Style Modernity: Making Modern America,”,in Erika Doss ed., Living with Life, Washington: Smithsonian Institution Press, 2001, 25-40 “The Visual Arts: Imploding Infrastructure, Shifting Frames, Uncertain Futures,”,in Tony Bennett and David Walkers eds., Reshaping Australian Culture, Cambridge: University of Cambridge Press, 2001, 66-88 “Visual Regimes of Colonisation: European and Aboriginal Seeing in Australia,”,in Ulpiano Toledo Bezerra de Meneses, ed., Paysage et Art, papers of the conference “Paisagem e Arte, a invençao da natureza, a evoluçao da olhar”, Comité Brasileiro de Historia da Arte, Sao Paulo, 2000, 91-100 With Mary Kelly, “A Conversation about Conceptual Art, Subjectivity and the Post-Partum Document,”,in Alex Alberro and Blake Stimson, eds., Conceptual Art, A Critical Anthology, Cambridge, Mass., MIT Press, 1999, 450-459 “Peripheries in Motion: Conceptualism and Conceptual Art in: Australia and New Zealand,”,in Luis Camnitzer, Jane Farver and Rachel Weiss, eds., Global Conceptualism: Points of Origin 1950s-1980s, New York, Queens Museum of Art, 1999, 86-98 “Art,”,in Roger Bell and Phillip Bell, eds., Americanization: Australian Experiences, Sydney: University of New South Wales Press, 1998 “Pictures of, Painting as: Landscape and Modernism,”,in Geoff Levitus, ed., Lying About the Landscape, Sydney: Craftsman House, 1998 “Kngwarreye Woman Abstract Painter,”,in Jennifer Isaacs, ed., Emily Kame Kngwarreye, Sydney: Craftsman House, 1998 “The Governor General and the Post-Colonial: The Australia Day Address 1996,”,in Anthony Uhlmann, ed., Media Imaginaries, special issue of Continuum, Perth: University of Western Australia, 1997 “Three Ages of Man: Masculine Sexuality in Australian Art,”,in Paul Patton and Diane Austin-Broos, eds., Transformations in Australian Society, Sydney: Research Institute for the Humanities and Social Sciences, 1997, 1-31 “Intensity: Modernism’s Phallic Aesthetics,”,introduction to In Visible Touch: Modernism and Masculinity, Sydney, Power Publications, 1977; Chicago: University of Chicago Press, 1998, 1-27 “Pictured History: The Matchgirls” Strike 1888,”,in Jessica Evans, ed., The Camerawork Essays, Context and Meaning in Photography, London: Rivers Oram Press, 1997, 156-169; introduction 153-6 “Craft, Modernity and Postmodernity,”,in Sue Rowley, ed., Craft and Contemporary Theory, Sydney: Allen & Unwin, 1997 “The University is for Turning,” in Ideas of the University, Sydney: Research Institute for the Humanities and Social Sciences and Power Publications, 1996 “The Provincialism Problem” and “Generation X: Impacts of the 1980s,”,in Rex Butler, ed., What is Appropriation?, Brisbane and Sydney: IMA and Power Publications, 1996 “Production: The Specter and The Stonebreakers,”,in Robert Nelson and Richard Shiff, eds. Critical Terms for Art History, Chicago: University of Chicago Press, 1996; 2nd ed. 2003, 361-381. “Modernism”, “Modernity”, “Australian Painting and graphic arts before 1900”, “Australian Painting and graphic arts since 1900”, “Art Education in Australia”, “David Aspden”, “Annandale Imitation Realists”, “Charles Blackman”, “Imants Tillers,”entries for the Dictionary of Art, London: Macmillans, 1996, various world lengths, 5,000 to 500 “Fine Art,”,The Cambridge Encyclopedia of Australia, Susan Bambrick, ed., Cambridge: Cambridge University Press, 1994, 303-309 “The Genius of Black Art,”,The Best of the Independent Monthly, Frank Devine, ed., Geelong: Deakin University Press, 1992, 183-189 “A Problematic Practice 1970-80”, “From the Desert: Aboriginal Painting Since 1970”, “Postmodern Plurality: the 1980s”, in Bernard Smith with Terry Smith, Australian Painting 1788-1990, Melbourne: Oxford University Press, 1991, 452-556;with Christopher Heathcote, Australian Painting 1788-2000, Fourth edition, 2001 “Discourse and Desire: Foucault on Modernity and Visuality,”,The Rhetorics of History, Roger Benjamin and David Bennett eds., Melbourne: Art Association of Australia, 1990, 25-39 “The Tasks of Translation: Art & Language in Australia and New Zealand 1975-76,”, Now See Hear! Art, language and translation, Greg Burke and Ian Wedde eds., Wellington, N.Z.: Victoria University Press, 1990, 250-261 “Populism and Privilege in Australian Painting,”,in S L Goldberg and F B Smith eds., Australian Cultural History, Australian Academy of the Humanities and Cambridge University Press, Cambridge, 1988, 190-210 “The Visual Arts,”,in D H Borchardt ed., Australians: A Guide to Sources, Sydney: Fairfax, Syme and Weldon, 1987, 412-417 “Modernism Meets Modernity: Great Combusting Conjunctures!”, in E A Grosz et al. (eds), Futur*fall: Excursions into Post-Modernity, Sydney: Power Institute of Fine Arts, 1987, 64-81 “The Local, the National and the International in Australian Art,”.in Kurt Brereton et al., eds, Australian Mythological Sights. Sites. Cities, Sydney: Third Degree, 1986, 158-162 “Critical Possibility Here and Now: The Practicalities of Art Writing Today,”,in Roger Benjamin ed., Practices of Criticism in Australia, Melbourne: Papers of the Art Association of Australia, Vol. 1, 1986, 28-38 “A State of Seeing, Unsighted...; Notes on the Visual in Nazi War Culture,”,in Paul Patton and Ross Poole eds., War/Masculinity, Intervention, Sydney 1985, 11-25; also in Block, 12, Winter 1986-87, 50-70 “The Situation Now,”,1971, and “The Provincialism Problem,”,1974, in Paul Taylor ed., Anything Goes: Art in Australia 1970-1980, Melbourne, Art & Text, 1984 “Convicts and Capital: The Absent Imagery of the Convict Era,”,in Capital Essays, Drew Cottle, ed., General Studies Dept. University of NSW, 1984, 63-76 “The Divided Meaning of Shearing the Rams; Artists and Nationalism 1888-1891,”,in Australian Art and Architecture: Essays Presented to Bernard Smith, edited with Anthony Bradley, Oxford University Press, Melbourne 1980, 263 pages, 93-123 |