Stieg Persson

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Pleasure of The Gaze
Image and Appearance in Recent Australian Art

Scarce Australian catalogue published on the occasion of the exhibition “Pleasure of The Gaze : Image and Appearance in Recent Australian Art”, held at the The Art Gallery of Western Australia, Perth, 1985, and curated by Bruce Adams.
Profusely illustrated in colour and black and white across exhibiting artist biographical sections and essay accompaniment illustrations, this publication features the work of Julie Brown-Rrap, Peter Callas, Richard Dunn, Merilyn Fairskye, Marinka Kordis, Maris Kozic, Lindy Lee, John Lethbridge, Akio Makigawa, Sue Paull, Stieg Persson, Robert Randall and Frank Bendinelli, Carol Rudyard, Peter Tyndall, Vicki Varvaressos, and John R. Walker. Essays include “Eye, Image, Picture, Screen (and all that Junk)” by Adrian Martin; “Sticky Television” by Meaghan Morris; “Re Re-Orientation: The Image as Fantasy and Furniture in Japan” by Peter Callas. Plus an introduction by Adams.

Design by Wohlnick Design.

* Condition: Good-Very Good (tight, clean copy throughout, light wear to cover, inc. small sticker tear) – All care is taken to provide accurate condition details of used books, photos available on request.

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Pleasure of The Gaze (1985)
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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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