Kathy Acker & McKenzie Wark
Published December 2015
Judy Annear (ed)
Len Lye with Roger Horrocks
John Summers, Chris Lehmann, Thomas Frank (eds)
Published September 2015
Milestones: Ken Orchard 1980-2009
Red Poles Gallery, McLaren Vale, South Australia
29 August – 27 September 2009
Published December 2009
Theme Park: Brook Andrew
AAMU, Utrecht, The Netherlands, 2008.
124pp, RRP $39.95
Between Indigenous Australia and Europe: John Mawurndjul
Claus Volkenandt and Christian Kaufmann (eds)
Dieter Reimer Verlag GmbH, Berlin, 2009.
350pp, RRP 45
Judy Watson: blood language
by Judy Watson & Louise Martin-Chew, The Miegunyah Press, Melbourne, 2009.
240pp, RRP $39.95
New Beginnings: Classic Paintings from the Corrigan Collection of 21st Century Art
McCulloch and McCulloch, Fitzroy, Victoria, 2008.
159pp, RRP $79.95
Icons of the Desert: Early Aboriginal paintings from Papunya
Edited by Roger Benjamin with Andrew C. Weislogel, Herbert F. Johnson Museum of Art, Cornell University, 2009.
192pp, RRP $49.95
Managing editor of RealTime Keith Gallasch describes what the web means to print journalism and how RealTime manages its website and its hardcopy in a careful adaptation to a changing and unpredictable publishing ecology.
The University of Sydney Librarian John Shipp describes the changing world of university libraries and the way they handle information in a digital age. He has nightmares about the Google settlement and his mantra is that 'creators should retain their rights.'
Fiona Davies: Intangible Collection
Maitland Regional Art Gallery, NSW
15 August - 18 November 2009
Art History Librarian at the Barr Smith Library, University of Adelaide Margaret Hosking explains the way fees and access are currently worked out for copyright materials in teaching at universities in Australia.
Tim Burns: From the Garden
Bett Gallery, Hobart
9 October – 7 November 2009
Emeritus Director of the Art Gallery of South Australia and highly respected investigative curator and writer Daniel Thomas pulls out the stops in a far-ranging appraisal of art book publishing in Australia. He writes: "Once the artist is well dead, even if the book is 'only' a monograph, disregard the family and friends; we need to know everything."