John Dunkley-Smith

Kerb Your Dog 1992
Number 11 : TEXTBOOK : John Nixon, John Young (eds.)

 

Kerb Your Dog was an artist-edited anthology of pages by contemporary Australian and International artists, published in Sydney, Australia. Edited by John Nixon and John Young and published in an edition of 500 copies, this volume from 1992 – “TEXTBOOK” – features pages by John Barbour, Eugene Carchesio, Tony Clark, Peter Cripps, Aleks Danko, John Dunkley-Smith, Clinton Garofano, Ross Harley, Tim Johnson, Lyndal Jones, Maria Kozic, Rosemary Laing, Shelley Lasica, Lindy Lee, Geoff Lowe, Robert Macpherson, John Nixon, Rose Nolan, Susan Norrie, David O’Halloran, Robert Owen, Mike Parr, Jacky Redgate, Carole Roberts, Vivienne Shark Lewitt, Peter Tyndall, Ken Unsworth, Geoffrey Weary, Wood / Marsh Architecture Pty. Ltd., John Young, and an essay by Janet Shanks. An invaluable collection of artist’s texts from Australia in this very scarce document.

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Kerb Your Dog no. 12 1992
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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

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Institute of Modern Art 1975-1989
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Primary Views
Stephen Bram, Janet Burchill and Jennifer McCamley, Juan Davila


Catalogue produced on the occasion of the exhibition, “Primary Views” at MUMA, Monash University Museum of Art in 2008, curated by artists Stephen Bram, Janet Burchill and Jennifer McCamley, and Juan Davila, with co-ordinating curator Kirrily Hammond.
Primary Views invited the insights of four artists represented in the Monash University collection. Each has been invited to curate a self-contained exhibition from the Monash University collection, according to their own areas of interest, expertise and aesthetic/discursive predilections. Alternative to classical or canonical art-historical readings, Primary Views considers the role of the artist as curator, encouraging new readings of the collection, and more partial, polemical and aberrant artistic historiographies.
Features texts by the curating artists and Max Delany.

Artists featured in the exhibition were: Howard Arkley, Paul Bai, Chris Barry, Charles Blackman, Peter Booth, Arthur Boyd, Stephen Bram, Horace Brodzky, Janet Burchill & Jennifer Mccamley, Ian Burn, Jane Burton, Domenico De Clario, Clyde Clinton, Noel Counihan, Mutlu Cerkez, Juan Davila, John Dunkley-Smith, Richard Dunn, Louise Forthun, John Heartfield, Bill Henson, Lynn Hershman, Ronnie Van Hout, Rafaat Ishak, Rosemary Laing, Robert Macpherson, Tracey Moffatt, John Nixon, Jacky Redgate, William Robins, Paul Saint, Dada Samson, Jan Senbergs, Wolfgang Sievers

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Primary Views
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La Boheme
curated by John Nixon

Catalogue for the 1988 exhibition La Boheme at City Gallery, Melbourne. Curated by John Nixon, featuring Howard Arkley, Peter Cripps, Aleks danko, John Dunkley-Smith, Lyndal Jones, John Nixon, Peter Tyndall, Jenny Watson

John Nixon is an Australian artist born in 1949, his Experimental Painting Workshop EPW – founded in 1990 – is not a physical workshop but an intellectual as well as a practical visual investigation into non-representational painting.

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John Nixon - La Boheme
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