First printing of “Anything Goes : Art in Australia 1970-1980”, published by Art & Text in 1984. Edited by Paul Taylor, founder of Art & Text, this large, valuable volume of essays by leading writers of those years – covering all aspects of painting, sculpture, photography and experimental art forms since 1970 – features contributions by Janine Burks, Mary Eagle, Christine Godden, Robert Lindsay, Ian Burn, Julie Ewington, Memory Holloway, Terry Smith, Ann Stephen, Margaret Plant, Patrick McCaughey, Daniel Thomas.
“The 1970s were years of unprecedented change in Australian art and culture, and Anything Goes is the first book about that decade’s remarkable variety of art.”
Includes the work of: →↑→, Mike Parr, Howard Arkley, Jenny Watson, Donald Judd, Ian Burn, John Lethbridge, John Davis, Mel Bochner, Joseph Beuys, Mel Ramsden, Women’s Domestic Needlework Group, Andy Warhol, Tim Johnson, Nigel Lendon, Artsworkers Union, Robert Rooney, Clive Murray-White, Tony McGillick, Fred Williams, John Firth-Smith, George Haynes, Donald Laycock, Michael Taylor, Fred Cress, Ron Robertson-Swann, David Aspden, Sydney Ball, Roger Kemp, Paul Partos, Trevor Vickors, Robert Hunter, Robert Jacks, Vivienne Binns, Bonita Ely, Marie McMahon, Virginia Cuppaidge, Imants Tillers, Les Kossatz, Ti Parks, Peter Cripps, Ken Searle, Jan Senbergs, George Baldessin, John Armstrong, Janet Dawson, Dale Hickey, Tony Coleing, Marr Grounds, Chips Mackinolty, Ann Newmarch, Colin Little, Jan Mackay, Toni Robertson, Jenny Hill, Christo, Ross Grounds, Ken Unsworth, Kevin Mortensen, Stelarc, Jillian Orr, Hossein Valamanesh, W. Thomas Arthur, Ewa Pachucka, Vicki Varvaressos, Carol Jerrems, Elizabeth Gower, Geoff Hogg, Ann Newmarch, Peter Kennedy, Jon Rhodes, Bill Henson, Stephen Lojewski, Robert Owen, Mark Johnson, Peter Booth, John Duckley-Smith, Ron Robertson-Swann, Alun Leach-Jones, Michael Johnson, Lesley Dumbrell, Fred Cross, John Walker, David Aspden, and many more.
Paul Taylor (Melbourne, 1957–7 September 1992) was an Australian art critic, curator, editor and publisher. In 1981, he founded Art & Text, the contemporary art journal considered to be responsible for generating and promoting postmodernist discourse in Australian art.
* Condition: Very Good (tight, clean copy, tanning to cover edges/spine) – All care is taken to provide accurate condition details of used books, photos available on request.
- Anything Goes (1984)
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Institute of Modern Art 1975-1989
A Documentary History - Bob Lingard, Sue Cramer (Eds.)
Institute of Modern Art 1975-1989 – A Documentary History, was edited by Bob Lingard, Sue Cramer in Brisbane in 1989, and takes an in-depth look at the history of a very important period of one of Australia’s oldest contemporary art spaces. Through essays by Bob Lingard and Peter Anderson, exhibition photography, a full list of exhibitions, catalogues and bulletins, this publication retrospectively showcases the directorship years of Robert Jadin de Fronenteau, John Buckley, John Nixon, Barbara Campbell, Peter Cripps and Sue Cramer, exhibiting John Olsen, Robert MacPherson, Ian Hamilton, Sidney Nolan, John Baldessari, Peter Cripps, Gunter Christmann, David Hockney, Diane Arbus, Jenny Watson, Chuck Close, Joseph Kosuth, Paul Sharits, Mike Parr, Arthur Boyd, Robert Jacks, John Davis, Mario Merz, Peter Tyndall, Hilary Boscott, Imants Tillers, John Nixon, Elizabeth Gower, Janet Burchill, Tony Clark, Dale Frank, Henri Chopin, Scott Redford, Tim Johnson, Robert Mapplethorpe, Vivienne Shark Lewitt, Fiona McDonald, Fiona Hall, Joanna Flynn, Jan Nelson, Joanna Ritson, Robert Hunter, Stephen Roach,Dominique Gonzalez-Foerster, Lehan Ramsey, Hiram To, John Dunkley-Smith, Stieg Persson, Merilyn Fairskye, Linda Marrinon, Bill Henson, Fritz Rahman, Melinda Harper, Geoff Lowe, Lindy Lee, Eugene Carchesio, Diena Georgetti, Maria Kozic, Lyndal Jones, amongst many others!
“This publication documents the history of the Institute of Modern Art, Brisbane from its inception in 1975 until the present day (1989). In doing so, it provides a partial record, both visual and verbal, of the life of one particular institution and an insight into a ﬁfteen year history of exhibition-making within contemporary art. There can be no doubt that “Contemporary Art Spaces” (previously institutions such as the IMA were known as “alternative spaces”) have a crucial and unique role in supporting and developing contemporary art and curatorial practices within Australia. As the photographs of exhibitions, and the essays in this publication show, the Institute has played a signiﬁcant role over its ﬁfteen years as a venue not only for the exhibition of art that is being made in Brisbane itself, but also that of artists working elsewhere in Australia and overseas. It is worth remembering too that the Institute is the second oldest of the Contemporary Art Spaces in Australia. With this in mind, the Institute’s archive, from which this publication has been drawn, becomes a valuable resource in the study of recent art. The photographs published here oﬁer a visual record of individual works by many contemporary artists, a number of which may not have been published elsewhere. It is hoped therefore, that this publication might fruitfully be regarded as a source book from which more detailed projects of research can be undertaken. It is impossible in one publication to cover all of the activities and personalities, ideas, debates and discussions that have made up the life of the gallery. Alongside the exhibition program, the Institute has generated forums, lectures, ﬁlm screenings and publications as an important part of its activities…”
SUE CRAMER DIRECTOR, June 1989
- Institute of Modern Art 1975-1989
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Impresario: Paul Taylor, The Melbourne Years, 1981–1984 brings together a diverse body of texts focused on Paul Taylor, the Australian editor, writer, curator and impresario, and in particular his important and influential early years in Melbourne between 1981 and 1984. The dates of the texts included span some thirty years and take a variety of different forms — critical essays, reviews, short reflective texts, interviews, transcriptions of lectures — the combination of which seeks to analyse Taylor’s impact on Australian art history in the early 1980s, when he founded Art & Text and curated the landmark exhibition ‘POPISM’ at the National Gallery of Victoria, and the subsequent ripples that continue to encircle us in his wake, thirty years on.
Edited and introduced by Helen Hughes and Nicholas Croggon, and featuring contributions by Ashley Crawford, Adrian Martin, Charles Green & Heather Barker, Chris McAuliffe, David Chesworth & Jon Dale, David Pestorius, Graham Willett, Ian McLean, Judy Annear, Janine Burke, Juan Davila, Jonathan Holmes, John Nixon & David Homewood, Jenny Watson & Kelly Fliedner, Lyndal Jones, Merryn Gates, Maria Kozic, Philip Brophy, Paul Foss, Patrick McCaughey, Peter Tyndall, Rex Butler & Susan Rothnie, Ralph Traviati, Imants Tillers, Edward Colless, Russell Walsh, Sue Cramer, Denise Robinson and Vivienne Shark LeWitt.
Editors: Helen Hughes and Nicholas Croggon
Design: Brad Haylock
- Impresario: Paul Taylor, The Melbourne Years, 1981–1984
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The LIP Anthology
An Australian Feminist Arts Journal 1976-1984
By reviewing the adventurous projects and artworks of a significant group of women involved with the LIP Collective based in Melbourne in the 1970s and 80s, this exciting anthology co-published by Kunstverein Publishing Amsterdam and Macmillan Art Publishing: Melbourne discloses for the first time the scope of the movement. It published Lip: A Feminist Arts Journal; the Earthworks Poster Collective; The Women’s Theatre Group; The Women’s Film Group and a host of exhibitions and critical writings connecting Australian women artists with the activities of their counterparts overseas.
Among the many contributors are Janine Burke, Annette Blonski, Suzanne Davies, Helen Grace, Ponch Hawkes, Sue Johnston, Laleen Jayamanne, Suzanne Spunner and Ann Stephen.
As editor Vivian Ziherl writes:
“Lip magazine was self-published by women in Melbourne from 1976 to 1984 and stood as a lightning rod for Australian feminist artistic practice over the ‘Women Liberation’ era. The art and ideas expressed over Lip’s lifetime track, with ground-breaking moves into performance, ecology, social-engagement and labor politics, stood at an intersection with local realities. The Lip Anthology seeks a figuration of Lip as a composite feminist entity produced with relation to the situational conditions of its production.
The anthology selection is not proposed as a ‘best of’, but rather as cumulative array of materials indicating the range and dynamism of the Lip project. The diversity of the periodical is privileged across multiple disciplinary vantages, as well as among the varied feminist positions brought together through the discursive space afforded by Lip. Collecting and presenting the materials of Lip for the first time since their original appearance, the anthology seeks (re/de)construction and routes of (re)circulation towards points of (re)commencement.
Vivian Ziherl is a curator at If I Can’t Dance, I Don’t Want to Be Part Of Your Revolution, Amsterdam, as well as undertaking independent projects, research and writing. Recent projects include Landings (2013-14) – a research project co-curated with Natasha Ginwala that seeks cross-over readings of land history, geomorphology, rurality and corporeality; and StageIt! (2012-13), a performance series co-curated with Hendrik Folkerts at the Stedelijk Museum Amsterdam. Ziherl will be the seventh guest curator invited to the David Roberts Art Foundation ‘Curator Series’ for 2014.
‘The Lip Anthology’ is published by Kunstverein Publishing and Macmillan Art Publishing, co-produced with Grazer Kunstverein and with the support of the Australia Council for the Arts and the TEWRR.
- The LIP Anthology - An Australian Feminist Arts Journal 1976-1984
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