Power Publications – förlag

The first publication to survey the writing practice of the late Gordon Bennett (1955–2014), Gordon Bennett: Selected Writings gives vital insight into one of Australia's important contemporary artists in his own words. Bringing together nearly forty published and unpublished essays, and providing a glimpse into Bennett's personal archive via the reproduction of previously unseen notebooks, correspondence, sketches, preparatory compositions, and more, this book profiles the importance of the written word within Bennett's art and broader intellectual practice. Offering new knowledge of his creative process, intellectual and artistic influences, and professional relationships, it amplifies Bennett's already significant contribution to subjects of race and identity in national and global contexts, as well as reaffirming his centrality to postcolonial discourse in the twenty-first century.Edited by Angela Goddard and Tim Riley Walsh, Gordon Bennett: Selected Writings is copublished by Power Publications, Sydney, and Griffith University Art Museum, Brisbane.

Light & Darkness offers a unique perspective on the twenty-five-year history and evolution of the JW Power Collection, one of the most significant art collections of local and international art in Australia. It explores luminosity, color, movement, race, gender, and politics across three decades of late modernism, introducing this collection to a new generation. This volume also features essays from prominent art historians and curators, including an illuminating introduction by art historian and curator Ann Stephen

History as unfinished business - a definitive guide for an artist's recent practiceBetween 2005 and 2019, Hong Kong–born Australian artist John Young Zerunge created eleven art series that he called "The History Projects." This book is a critical guide to this expansive body of artworks, which explore diasporic memory, transcultural identity, and what Young describes as an "ethical responsibility" toward the past. Featuring more than four hundred images and a wide variety of texts - including new essays and interviews, key republished articles, poetry, artist's reflections, and diary pages - this book is a definitive reference for Young's transformative recent practice and its urgent reckoning with history as unfinished business.

An engaging and provocative account of photography's first commercial applications in England and their global implications. This book addresses a persistent gap in the study of photography's history, moving beyond an appreciation of single breakthrough works to consider the photographic image's newfound reproducibility and capacity for circulation through newsprint and other media in the nineteenth century.

This new volume looks at the rich history of performance art in Australia through a multitude of perspectives. With this collection's thirty-nine contributions by scholars, curators, and artists covering more than three decades of practice, readers will enjoy both a comprehensive overview of the Australian performance art landscape and a rich trove of personal reflections from some of its pioneers and main proponents.Scholars: Heather Barker; Charles Green; Brad Buckley; Laini Burton; Rex Butler; John Conomos; Adam Geczy; Mimi Kelly; Anne Marsh; Ian McLean; Sarah Miller; Robert Nelson; Edward ScheerCurators: Ineke Dane; Janelle Evans; Blair French; Mary Knights; Hannah Mathews; Maurice O'RiordanArtists: Denis Beaubois; Tess de Quincey; Blak Douglas; Bonita Ely; Deej Fabyc; Michael Goldberg; Agatha Gothe-Snape; Tim Johnson; Peter Kennedy; Sean Lowry; Paul Mumme; S. J. Norman; Jill Orr; Mike Parr; Julie Rrap; Mark Shorter; Jason Sweeney; Ilmar Taimre; Julie Vulcan

Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.

It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the director of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European 'envisioning' of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage.

This book contains a fascinating collection of essays on the emergence and nature of installation art from the 1970s to the present. Themes include open air sculpture, site-specificity, institutional critiques, and new media. Thrity-nine writers discuss the works of twenty-eight artists.

John Conomos is a media artist, critic and writer, and Senior Lecturer in film and new media studies at Sydney College of the Arts, University of Sydney. His videotapes and installations have been widely exhibited throughout Australia, Europe, the United States and Latin America.

UnAustralian Art: Ten Essays on Transnational Art History proposes a radical rethinking of Australian art. Rex Butler and ADS Donaldson do not seek to identify a distinctive national sensibility; instead, they demonstrate that Australian art and artists have always been engaged in struggles and creative exchanges with the rest of the world. Examining Australian art as much from the outside in as the inside out, Butler and Donaldson's methodology opens Australian art history to an encyclopedic multitude of hitherto excluded stories - from Australian expatriates who lived and worked overseas to artists who came from elsewhere and continued to make art in Australia. Beginning with the impressionist John Russell at the turn of the century in France and ending with the great Anmatyerre artist Emily Kame Kngwarreye in the late twentieth century, the book presents new research detailing the artistic connections between Australia and New Zealand, France, Britain, Germany, Asia, North America, South America, and the Pacific. This book asks us to reconsider who an Australian artist is and has been. In a world of increasing global connectedness, this new history of UnAustralian art is a history of the present, helping us understand the Australia of the twenty-first century.