Most Recent Publications
|Published with Power Publications and the Lawrence Wilson Art Gallery
Edited by Felicity Johnston and Anne Ferran Text by Susan Best and Thierry de Duve
With a stellar career spanning over 30 years, Anne Ferran is widely recognised as one of Australia’s most signi!cant photo-media artists. Her survey exhibition ‘Shadow Land’ was staged this year with great success as part of the Perth International Arts Festival and is now set to tour the eastern states, starting with the Australian Centre for Photography in Sydney. The accompanying publication Anne Ferran: Shadow Land is a comprehensive and lavishly illustrated presentation of her photographic, textile, installation, video and text-based practice. With substantial contributions from internationally renowned writer Thierry de Duve and Sydney-based women’s art expert Susan Best, the writing is just as thoughtful and evocative as the work. From her famous rayograph dress images to sombre landscapes and the haunting histories of institutions such as Old Fremantle Prison and abandoned asylums, Ferran’s body of work delicately traces lost stories that can no longer be told.
About the Artist
Ferran has exhibited widely both nationally and internationally and is highly regarded as an artist, academic and writer. She has been the recipient of the Higashikawa International Photographer Award (2009) and the Josephine Ulrick and Win Schubert Photographic Award (2003). Her work is held in the collections of the International Museum of Photography, New York, NGA, NVM, Monash University, Tasmanian Museum and Art Gallery, AGSA and AGNSW.
About the Contributors
Susan Best is an Associate Professor at the College of Fine Arts, University of New South Wales. Her areas of expertise include conceptual art, women's art and Latin American art. Her recent title Visualising Feeling: Affect and the Feminine Avant-garde focuses on four women artists of the 1960's and 70s: Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha. She is currently working on a book titled Reparative Aesthetics for Bloomsbury.
|Published with The University Art Gallery, University of Sydney
Edited by A.D.S. Donaldson and Ann Stephen with contributions by Gladys Fabre and Virginia Spate
A long forgotten 1934 exhibition by the Australian expatriate JW Power at the Abstraction-Création gallery in Paris provides the key to understanding this most elusive artist. Stephen and Donaldson argue that Power is Australia’s most important avant-gardist of the early twentieth century. In the interwar years, Power moved between cities, immersing himself in both contemporary and historical art, this restlessness leading to his own unique painting: part- abstract surrealism, part-surreal abstraction.
His most significant contribution however was made in Paris. There he studied with Pedro Araujo and Fernand Léger and showed with Léonce Rosenberg and Galerie Jeanne Bucher. Crucially, he was a founding and long- term member of Abstraction-Création. In her essay, published in English here for the first time, art historian Gladys Fabre describes how this group was the focus for the international avant-garde moving through Paris in the 1930s. Virginia Spate examines Power’s creative process through the analysis of a single painting. J.W. Power Abstraction-Création reveals how Power’s work illuminates the relationships between Sydney and Paris, and between France and Australia, an exchange that goes to the heart of Australia’s modernism.
A.D.S. Donaldson is an artist, curator and art historian. He lectures in the painting department at the National Art School, Sydney and studied at the University of Sydney, the Kunstakademie Düsseldorf and the Royal Danish Academy of Fine Arts, Copenhagen.
Ann Stephen is an art historian and senior curator of the University Art Gallery at the University of Sydney. Her books include: On looking at looking: The art and politics of Ian Burn (2006); and Modern Times: The untold story of modernism in Australia (2008), co-edited with Andrew McNamara and Philip Goad.
Gladys Fabre is an art historian and curator. Her exhibitions include Léger et L’Esprit l’art non-objectif 1918-1931 (1982), abstraction-création 1931-1936 (1978), and Van Doesburg & the International Avant-Garde: Constructing a New World (2009).
Virginia Spate is emeritus professor of art history at Sydney University. Her books include The Colour of Time: Claude Monet, winner of the Mitchell Prize for Art History in 1993; and Orphism: The evolution of non-figurative painting in Paris 1910-1914.
|Published with Institute of Modern Art
Edited by Ian McLean
ISBN 978 0 909952 37 2
This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors—including art critics and historians, curators, art centre co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists—it conveys a diversity of thinking and approaches. Together with editor Ian McLean’s important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal art’s critical intervention into contemporary art since its seduction of the art world a quarter-century ago.
Ian McLean is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He has published extensively in Australia and overseas. His books include The Art of Gordon Bennett and White Aborigines: Identity Politics in Australian Art. He is Professor of Australian Art History at the University of Western Australia and the University of Wollongong, and serves on the advisory boards of the journals Third Text, World Art and National Identities.
How Aborigines invented the idea of contemporary art: Writings on Aboriginal contemporary art is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Australia Council for the Arts, the Getty Foundation and the Nelson Meers Foundation.