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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Major Australian touring exhibition exploring realism and illusion in art (across new realist painting, pop, photography, conceptualism, minimalism, abstraction, ceramics, even architecture) with a catalogue of 71 works by 44 international artists and groups. Introduction and notes on the artists by John Stringer; statements by Audrey Flack, Stephen Posen and Josef Raffael; biographical notes on the artists, including exhibitions and collections; statement on realism by Raymond Williams. Exhibition organized by the Australian National Gallery, Canberra, and shown at seven locations throughout Australia.
Artists: Ian Burn, Gerhard Richter, Ed Ruscha, Joseph Kosuth, Bernd and Hilla Becher, Marilyn Levine, Dale Hickey, Jenny Watson, Jan Dibbets, Chuck Close, SITE, Michael Snow, Tom Wesselman, Claudio Bravo, Malcolm Morley, Michael Snow, Robert Bechtle, Tom Blackwell, Christian Boltanski, Santiago Cardenas, John Clem Clarke, William Delafield Cook, Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Ralph Goings, Jan Groover, Duane Hanson, Peter Kennedy, Ron Kleeman, Richard Larter, Victor Lance Henderson, Terry Schoonhoven, Richard McLean, Jud Nelson, John Okulick, Philip Pearlstein,, Michelangelo Pistoletto, Liliana Porter, Stephen Posen, Joseph Raffael, Ben Schonzeit, Paul Sharits, Sonia Landy Sheridan, and more.
* Condition: Very Good (light tanning/wear) – All care is taken to provide accurate condition details of used books, photos available on request.
- Illusion and Reality (1977)
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Sue Cramer (Ed.)
Published by the Institute of Modern Art, Brisbane in 1989 and edited by curator Sue Cramer.
“This exhibition and catalogue considers the gallery Inhibodress which existed in Sydney 1970-1972. The focus is upon the significance of the gallery as an example of independent action by artists, which achieved major importance through its commitment to and promotion of a new kind of critical art. Inhibodress failed as a collective, but succeeded in exploring a range of avant—garde ideas and establishing in Sydney a new kind of conceptually-based practice which questioned the nature and purpose of art, the status of painting and the notion of the art-object. In the debates which surrounded Inhibodress, and in the work of its main exhibiting artists, the notion of the ‘idea’ or ‘concept’ superseded the notion of the art object, opening up the possibilities of art beyond Greenbergian formalism. Inhibodress was born at the beginning of the seventies as a part of that moment in Australia (1968- 1972) when in the eyes of a number of young art practitioners, the implications of formalist art had reached their furthermost extreme: when minimalism was inverted to seed the beginnings of ‘post—minimalism’; when an interest in the internal aesthetics of the art object became an investigation into the place of art in the world. This new conceptual work explored art’s inextricable links with the world, with philosophy and politics, with society and its institutions. These changes corresponded of ‘course to those which had taken place in America and Europe and they had particular and fervent manifestation in Australia around this time…”
Essays and interviews with artists Tim Johnson, Peter Kennedy and Mike Parr, alongside documentation of Inhibodress exhibitions, performances, events, notifications and catalogues, this publication serves as an in-depth look at an important moment in Australian contemporary art history.
Designed by Sue Cramer and John Nixon.
- inhibodress 1970-1972
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